The Magic Flute
or
Everything I Need to Know about Virtue, I Learned from Pamina
G.D.O’Bradovich III
January 6, 2017
Unlike Don Giovanni or The Stoned Guest, the Magic Flute does not have a subtitle, but if it did, it would certainly either have the name “Pamina”, or refer to one of her multiple contributions to the plot.
The second act of Don Giovanni is primarily concerned with deception, as the Commander’s divine justice is a deus ex machina device. Giovanni’s deceptions are designed to mislead the cast, amuse the audience, and extend the opera’s running time, while The Magic Flute’s characters frequently misinterpret situations or make unwarranted assumptions. For example, upon awaking, Tamino assumes Papageno killed the lion. Tamino’s assumption is reasonable and, unlike firm beliefs and intractable opinions, is open to the possibility of correction.
We are indebted to Deb Richard’s “What is a Christian to do with The Magic Flute?” for the following list of Pamina’s qualities.
Pamina is:
The second act of Don Giovanni is primarily concerned with deception, as the Commander’s divine justice is a deus ex machina device. Giovanni’s deceptions are designed to mislead the cast, amuse the audience, and extend the opera’s running time, while The Magic Flute’s characters frequently misinterpret situations or make unwarranted assumptions. For example, upon awaking, Tamino assumes Papageno killed the lion. Tamino’s assumption is reasonable and, unlike firm beliefs and intractable opinions, is open to the possibility of correction.
We are indebted to Deb Richard’s “What is a Christian to do with The Magic Flute?” for the following list of Pamina’s qualities.
Pamina is:
Clever, calling for Sarastro to flee Monostatos, off stage, (1st Act)
Honest with Sarastro, when captured, sung, (1st Act) Compassionate with Papageno, spoken, (1st Act) Demonstrative with her feelings towards Tamino, sung, (1st Act) Brave during the trials, sung, (2nd Act) Steadfast after believing Tamino has rejected her, sung, (2nd Act) Loyal to her mother (throughout) |
Pamina interacts with most of the characters onstage and we presume she knew the three ladies offstage, as they do the bidding of Pamina’s mother, the Queen. The end of the first act is the only time Tamino, Monostatos, Papageno, and Sorastro are onstage together. Significantly, Pamina has interacted with three of them; only Tamino remains. Tarot card 20, The World, demonstrates the relationships between Pamina and the four male principals. For a fuller exploration of all twenty two Tarot images in The Magic Flute, please refer to my website [Vide].
Ignorance, superstition, and fear are traits manifested by the state, the church, and the mob. There are many examples of these vices in the opera. Tamino, for example, overcomes his dependency upon these vices, whereas the Queen remains beholden to them. These vices can only be combated and overcome by applying wisdom as reasoned from Nature.
In Gnostic terminology, Pamina can be understood as the lower Sophia seeking her Savior. The characters of The Magic Flute can be successfully interpreted by various methods, Occult or otherwise, as they represent archetypes. In conclusion to this part, we suggest that the opera is a Rorschach test, one sees or understands the opera according to one's abilities and experiences.
We have speculated that in another opera, Don Giovanni would have been a political philosopher. Don Giovanni is self aware and will not deceive the Commander to avoid his fiery fate. We are uncertain if the Queen of the Night is self aware. However, we know her lust for power, for the solar orb, is her only quest. If for nothing else, we must admire her for her constancy. If Don Giovanni demonstrates self awareness, then the Queen represents the subterranean will to power, as she presents herself in the first act as helpless and defeated, waiting for an opportunity to acquire the solar orb. The Queen enlists Tamino, threatens Pamina with abandonment, and allies herself with Monostatos in a desperate final attempt to surprise the Brotherhood in their temple. The Queen's overall modus operandi can be described as “the ends justify the means”, and the resultant amoral behavior is not unexpected.
Sarastro’s supposed behavior is maligned in the first act by the Queen and Tamino. Tamino’s knowledge may be described as tradition, since it is not from primary experience, but originates from another. The priest does not justify Sarastro's actions to Tamino, he only confirms Pamina’s abduction. We may say that the priest is successfully using a modified form of the Socratic method. As Sarastro's true character is eventually revealed, this possibility gives us hope as well, as Tamino may well be a youth who likes to think. We would appreciate a public acknowledgement for our efforts proposing a prequel to The Magic Flute- “Sarastro: Corrupter of Youths” as it explores the early and tumultuous relationship between Monostatos and Sarastro. Tamino’s suggested youthfulness may explain both his fainting and his immediate infatuation with Pamina’s image.
Of all the documented oddities and suggested inconsistencies in the opera, we have not discovered any commentary explaining how or why the three helpful boys are in the employ of the evil Queen. We offer the possibility that they knew the former king, Pamina's father, and have observed the Queen’s machinations since the death of the king. Therefore, they may have a secret agenda that is opposed to the Queen’s desire for additional power.
The Gentle Researcher may receive some benefits by analysing not the operatic performance, but the libretto as an esoteric document. Examples of “Expressly stated, silently contradicted” may be more numerous than would normally be expected in a work of similar size.
Sarastro’s proposal to initiate Tamino is met by rebuttals regarding his regal title, the implication that Tamino would not be able to endure the trials. This implication may be another indication of Tamino’s young age. Sarastro acknowledges that Tamino is a prince, but adds that he is also a man, thereby trumping any concerns regarding Tamino’s suitability.
As a mere woman, Pamina would be forbidden to join the Brotherhood. However, it was decided that since Pamina wanted to accompany Tamino in the trials by fire and water, and if she was successful or worthy, the benefits of initiation would be conferred upon her. We conclude that the sopranos and altos in the final chorus are not initiates themselves, but wives and daughters of the initiates. Of course, the all male chorus praising Isis and Osiris are initiates.
Pamina's father was not himself an initiate, but well loved the Brotherhood. There are several possible reasons why the King was not in the Brotherhood. Firstly, the supposed ancient prohibition forbidding royalty, no doubt as a measure to prevent the Brotherhood from becoming subservient to politics, instead of guiding leaders from behind the scenes a la Plato’s philosopher king. Secondly, the King, while enjoying many conversations with Sarastro, simply did not want to join. Finally, the King, for all his good qualities, may not have had the criteria the Brotherhood demands.
We conclude that Pamina possesses many attributes that are conventionally understood as masculine qualities. We observe that Pamina's seven documented virtues are not explicitly described, unlike her physical characteristics, but must be discovered through reflection. Although the unfolding singspiel is available to all in the audience, only a select few reviewers of The Magic Flute will grasp the possibilities of esoteric interpretations and understandings of this simple, all too simple, fairy tale.
Upon discovering Pamina's implied virtues, the Gentle Reader may compare them with explicit statements that reflect conventional opinions regarding woman.
As always, the Gentle Researcher will form his own conclusions regarding both the virtues of women, generally, and Pamina's virtues, specifically.
Ignorance, superstition, and fear are traits manifested by the state, the church, and the mob. There are many examples of these vices in the opera. Tamino, for example, overcomes his dependency upon these vices, whereas the Queen remains beholden to them. These vices can only be combated and overcome by applying wisdom as reasoned from Nature.
In Gnostic terminology, Pamina can be understood as the lower Sophia seeking her Savior. The characters of The Magic Flute can be successfully interpreted by various methods, Occult or otherwise, as they represent archetypes. In conclusion to this part, we suggest that the opera is a Rorschach test, one sees or understands the opera according to one's abilities and experiences.
We have speculated that in another opera, Don Giovanni would have been a political philosopher. Don Giovanni is self aware and will not deceive the Commander to avoid his fiery fate. We are uncertain if the Queen of the Night is self aware. However, we know her lust for power, for the solar orb, is her only quest. If for nothing else, we must admire her for her constancy. If Don Giovanni demonstrates self awareness, then the Queen represents the subterranean will to power, as she presents herself in the first act as helpless and defeated, waiting for an opportunity to acquire the solar orb. The Queen enlists Tamino, threatens Pamina with abandonment, and allies herself with Monostatos in a desperate final attempt to surprise the Brotherhood in their temple. The Queen's overall modus operandi can be described as “the ends justify the means”, and the resultant amoral behavior is not unexpected.
Sarastro’s supposed behavior is maligned in the first act by the Queen and Tamino. Tamino’s knowledge may be described as tradition, since it is not from primary experience, but originates from another. The priest does not justify Sarastro's actions to Tamino, he only confirms Pamina’s abduction. We may say that the priest is successfully using a modified form of the Socratic method. As Sarastro's true character is eventually revealed, this possibility gives us hope as well, as Tamino may well be a youth who likes to think. We would appreciate a public acknowledgement for our efforts proposing a prequel to The Magic Flute- “Sarastro: Corrupter of Youths” as it explores the early and tumultuous relationship between Monostatos and Sarastro. Tamino’s suggested youthfulness may explain both his fainting and his immediate infatuation with Pamina’s image.
Of all the documented oddities and suggested inconsistencies in the opera, we have not discovered any commentary explaining how or why the three helpful boys are in the employ of the evil Queen. We offer the possibility that they knew the former king, Pamina's father, and have observed the Queen’s machinations since the death of the king. Therefore, they may have a secret agenda that is opposed to the Queen’s desire for additional power.
The Gentle Researcher may receive some benefits by analysing not the operatic performance, but the libretto as an esoteric document. Examples of “Expressly stated, silently contradicted” may be more numerous than would normally be expected in a work of similar size.
Sarastro’s proposal to initiate Tamino is met by rebuttals regarding his regal title, the implication that Tamino would not be able to endure the trials. This implication may be another indication of Tamino’s young age. Sarastro acknowledges that Tamino is a prince, but adds that he is also a man, thereby trumping any concerns regarding Tamino’s suitability.
As a mere woman, Pamina would be forbidden to join the Brotherhood. However, it was decided that since Pamina wanted to accompany Tamino in the trials by fire and water, and if she was successful or worthy, the benefits of initiation would be conferred upon her. We conclude that the sopranos and altos in the final chorus are not initiates themselves, but wives and daughters of the initiates. Of course, the all male chorus praising Isis and Osiris are initiates.
Pamina's father was not himself an initiate, but well loved the Brotherhood. There are several possible reasons why the King was not in the Brotherhood. Firstly, the supposed ancient prohibition forbidding royalty, no doubt as a measure to prevent the Brotherhood from becoming subservient to politics, instead of guiding leaders from behind the scenes a la Plato’s philosopher king. Secondly, the King, while enjoying many conversations with Sarastro, simply did not want to join. Finally, the King, for all his good qualities, may not have had the criteria the Brotherhood demands.
We conclude that Pamina possesses many attributes that are conventionally understood as masculine qualities. We observe that Pamina's seven documented virtues are not explicitly described, unlike her physical characteristics, but must be discovered through reflection. Although the unfolding singspiel is available to all in the audience, only a select few reviewers of The Magic Flute will grasp the possibilities of esoteric interpretations and understandings of this simple, all too simple, fairy tale.
Upon discovering Pamina's implied virtues, the Gentle Reader may compare them with explicit statements that reflect conventional opinions regarding woman.
As always, the Gentle Researcher will form his own conclusions regarding both the virtues of women, generally, and Pamina's virtues, specifically.