The magic flute, second part

The second part of the Magic Flute is a libretto fragment by Johann Wolfgang von Goethe , which is inspired by Mozart's Magic Flute .

It was printed for the first time in 1802. In 1807 an amended version followed in print. The composition of at least one overture to this text by Carl Friedrich Zelter is attested.

Emergence

In 1795, Goethe began work on a sequel to Mozart's Magic Flute - a work that was, however, repeatedly interrupted in the following years. So Goethe's sequel remained a fragment, which was repeatedly associated with the fact that Goethe could not find a composer for his work, even if there were contacts with Paul Wranitzky . Probably the reason was the fact that Emanuel Schikaneder , the librettist of the Magic Flute, had written a sequel himself and had found a composer for it.

In Vossen's Musenalmanach for the year 1796 , Goethe's sequel was accompanied by the song: “From all beautiful goods” and later in Friedrich Wilman's pocket book for the year 1802 a larger part of his fragment.

action

Goethe's sequel begins as an act of revenge: The Queen of the Night wants Monostatos to kidnap Pamina and Tamino's son, who has now been born. Sarastro's magical power can prevent this, but Monostatos manages to lock the child in a coffin. This coffin cannot be opened, but it must be kept moving so that the child does not die. A series of parallel plots continues this motif: Among other things, Sarastro as a pilgrim has to go on a year-long wandering, which means that his protective care for the community is lost. On the way he meets Papageno and Papagena, who complain about their childlessness. Sarastro conjures up three baby birds made of golden eggs. Through the power of motherly love, the trapped child can finally be freed from Pamina and Tamino: as a “genius” it emerges from the coffin and floats away. This ends the elaborated part of the fragment. There is also a more detailed scenario and paralipomena .

The scenario of the sequel, Paralipomena

Short landscape: Sarastro and children

Deep landscape: Genius (,) Pamina (,) Tamino; Papagena (,) Monostatos; Papagena (,) Papageno (,) children; Genius is caught; Pamina (,) Tamino the previous ones; Monostatos (,) the previous ones

Night scene with meteors: Queen (,) Sarastro; Queen (,) Monostatos; battle; Tamino wins; Papageno armed

Palace cleaned up: Women and child's play; Monostatos underground; fire

Armory: The conquered (,) priests

The traditional Paralipomena contain so much content that they can be assigned to individual sections of the scenario with some certainty.

Particularly important as preparatory work for Goethe's "Faust" poetry and other works

The second part of The Magic Flute is of particular importance with regard to its motivic relationship to other works by Goethe, such as his Faust poem in particular . Numerous studies show convincingly motivic equivalents to other works and show how the Magic Flute continuation “was the godfather of Goethe's deepest symbols”. By far the most popular example is the genius figure as a model for the Euphorion in Faust II . Thomas Mann even described Goethe's Magic Flute as a little Faust :

"That is little Faust , - the magic flute , where Homunculus and the son are still one in the shining box ..." - Thomas Mann

Symbolism of the mysteries

Behind the action of the boy in the box or the genius figure (the so-called "central invention" of Goethe's Magic Flute continuation) hides a symbolic imagery of the Isis mysteries. The boy symbolically goes through the journey of the sun god Horus , which was modeled on the simple idea of the course of the sun, after which the sun sinks into the earth in the evening and emerges from the earth again in the morning. The boy is equipped with solar symbols such as the gold and lights of the box. The symbolism of the sun gods is particularly striking in the final picture: Lined by two lions, which correspond to the earth deity Aker , he flies up brightly.

In Faust II there is a comparison to the sun god ("like a little Phöbus ") as well as a symbolic journey into the underworld and a subsequent enlightened coming up for Euphorion:

But suddenly in the crack of the rough ravine he disappeared

And now he seems lost to us. Mother moans, father comforts,

Shrugging my shoulders, I stand scared. But now again what a show!

Are there treasures hidden there? Flower-striped robes

Has he done worthily.

Tassels sway from arms, bandages flutter around the bosom,

In her hand the golden Leyer, completely like a little Phöbus,

If he cheerfully steps to the edge, to the overhang; we are amazed.

And the parents throw each other's hearts with delight.

For how does it shine on his head? What shines is hard to say

If it is gold jewelry, is it a flame of overpowering spiritual power. (9614–9624)

Individual evidence

↑ Gerd Scherm: The Labyrinth - The Magic Flute, second part. Archived from the original on November 1, 2012 ; Retrieved May 14, 2009 .
↑ See for an overview of the research literature: Waldura, Markus: "Der Zauberflöte Zweyter Theil". Musical conception of a non-composed opera. In: Hans Heinrich Eggebrecht [Hrsg.]: Archive for Musicology, Stuttgart 1993 (Jg. 50. 1993, No. 4), pp. 259-290, p. 260. Hartmann, Tina: Goethes Musiktheater. Singspiele, operas, festivals, "Faust", Tübingen 2004, p. 299.
↑ Brown, Jane K .: At the limits of what is possible. Goethe and "The Magic Flute". In: Mathis Mayer [Hrsg.]: Model "Magic Flute". The credit of the possible. Cultural-historical reflections of invented truths, Hildesheim 2007 (Echo; Vol. 10), pp. 187-200, p. 190.
^ Mann, Thomas: Lotte in Weimar, Frankfurt am Main 1965, p. 263.
^ Henkel, Arthur: Goethe's "Hommage á Mozart". Comments on "The Magic Flute Second Part". In: Robert B. Palmer / Roberet Hamerton-Kelly [Ed.]: Philomathes. Studies and Essays in the Humanities in Memory of Philip Merlan, Den Haag 1971, 485–502, p. 496.
↑ Cebadal, George [Hrsg.] / Goethe, Johann Wolfgang von [Aut.]: Goethes: Die Zauberflöte II. The discovery of Goethe's Egyptian mysteries in the link between Mozart's "Magic Flute" and the "Faust" poem. Complete text book of Goethe's "The Magic Flute Second Part - Fragment" with an introduction and reinterpretation by George Cebadal, Norderstedt 2016, p. 45 ff.
↑ Cebadal, George: Goethe, Schiller and the veiled truth. A small contribution to the culture of mysteries in Goethe's "Faust" poetry and the Weimar Classic, Norderstedt 2019, p. 43 f.

literature

Andreas Blödorn: Continuing to Infinity: Goethe's 'Der Zauberflöte Zweyter Theil' as a cosmological allegory on Mozart's opera . In: Rüdiger Görner (ed.): Mozart - a challenge for literature and thinking [= Yearbook for International German Studies, Series A, Vol. 89, 2007], pp. 125–149.
Dieter Borchmeyer: Goethe, Mozart and the Magic Flute . Goettingen 1994.
George Cebadal: Goethe's: Die Zauberflöte II. The discovery of Goethe's Egyptian mysteries in the link between Mozart's "Magic Flute" and the "Faust" poem. Complete text book of Goethe's "The Magic Flute Second Part - Fragment" with an introduction and reinterpretation by George Cebadal . Norderstedt 2016.
Hans-Georg Gadamer: Education for people. 'The other part of the magic flute' . In: Ders .: Of the spiritual course of man. Studies on unfinished poems by Goethe . Godesberg 1949, pp. 28-55.
Arthur Henkel: Goethe's continuation of the 'Magic Flute' . In: Journal for German Philology, Vol. 71, Issue 1 (1951), pp. 64–69.
Erwin Jaeckle: Goethe's Magic Flute Fragment . In: Ders .: The Elf Trail. Two essays . Zurich 1958.
Victor Junk: “Goethe's continuation of Mozart's Magic Flute”. A. Duncker, Berlin 1899
Oskar Seidlin: Goethe's Magic Flute . In: Ders .: From Goethe to Thomas Mann. Twelve attempts . 2nd ed. Göttingen 1969, pp. 38-55.
Markus Waldura: 'The Magic Flute Zweyter Part'. Musical composition of a non-composed opera . In: Archives for Musicology . H. 4, 1993, pp. 259-290.
Walter Weiss: The survival of the 'Magic Flute' with Goethe . In: Johann Holzer / Michael Klein / Wolfgang Wiesmüller (eds.): Studies on the literature of the 19th and 20th centuries in Austria . Innsbruck 1981, pp. 15-24.

[1] Gerd Scherm: The Labyrinth - The Magic Flute, second part. Archived from the original on November 1, 2012 ; Retrieved May 14, 2009 .

[2] See for an overview of the research literature: Waldura, Markus: "Der Zauberflöte Zweyter Theil". Musical conception of a non-composed opera. In: Hans Heinrich Eggebrecht [Hrsg.]: Archive for Musicology, Stuttgart 1993 (Jg. 50. 1993, No. 4), pp. 259-290, p. 260. Hartmann, Tina: Goethes Musiktheater. Singspiele, operas, festivals, "Faust", Tübingen 2004, p. 299.

[3] Brown, Jane K .: At the limits of what is possible. Goethe and "The Magic Flute". In: Mathis Mayer [Hrsg.]: Model "Magic Flute". The credit of the possible. Cultural-historical reflections of invented truths, Hildesheim 2007 (Echo; Vol. 10), pp. 187-200, p. 190.

[4] Mann, Thomas: Lotte in Weimar, Frankfurt am Main 1965, p. 263.

[5] Henkel, Arthur: Goethe's "Hommage á Mozart". Comments on "The Magic Flute Second Part". In: Robert B. Palmer / Roberet Hamerton-Kelly [Ed.]: Philomathes. Studies and Essays in the Humanities in Memory of Philip Merlan, Den Haag 1971, 485–502, p. 496.

[6] Cebadal, George [Hrsg.] / Goethe, Johann Wolfgang von [Aut.]: Goethes: Die Zauberflöte II. The discovery of Goethe's Egyptian mysteries in the link between Mozart's "Magic Flute" and the "Faust" poem. Complete text book of Goethe's "The Magic Flute Second Part - Fragment" with an introduction and reinterpretation by George Cebadal, Norderstedt 2016, p. 45 ff.

[7] Cebadal, George: Goethe, Schiller and the veiled truth. A small contribution to the culture of mysteries in Goethe's "Faust" poetry and the Weimar Classic, Norderstedt 2019, p. 43 f.