GRAND LODGE WOMEN OF GREECE

Dr. Maria Sotirakou

 

“We live in this world in order always to learn industriously and to enlighten each other by means of discussion and to strive vigorously to promote the progress of science and the fine arts”

Wolfgang Amadeus Mozart

 

In this magnificent work, where the Masonic Ideal of human spiritual elevation is embellished by the exquisite musical feast, the acceptance of the Woman emerges, as worthy to receive, along with the man, the Light of Initiation!

On December 14, 1784, at the age of 28 years old, Mozart was admitted as an apprentice to the Masonic lodge called “Zur Wohltätigkeit” (“Beneficence”) in the East of Vienna. Due to the Lodge’s small size, he was eventually initiated into the Rank of the Entered Apprentice in the mother Lodge “The True Concord”.

On 7 January 1785 he was promoted to Fellowcraft, and on 26 February 1785 to Master Mason, and throughout his short life, he was an active mason.

Mozart was influenced to follow Freemasonry on the one hand by his father, who was also a Freemason (as well as his friend Michael Puchberg), and on the other hand by the multiple instances of grief he experienced, which created the need for peace of mind and spiritual uplift.

As Abba Karl de Nys states, “Mozart, after mature deliberation, mental need and certainty that this spiritual laboratory would ensure the tranquility in his inner world, asked steadfastly, persistently and consciously for his admission” (Drosos, 1989).

He supported his Lodge by composing musical pieces for many masonic events, but also by putting concerts on for the financial support of his brothers, who were in financial trouble. He composed several masonic pieces of music such as the “Little German Cantata”, the “Little Masonic Cantata”, “Masonic Funeral Music”, etc.

 

“You who honour the Creator 

of the measureless universe, 

whether you call him Jehova or God, 

Fu or Brahma, listen up! 

Hear the words from the trumpet 

of the universal ruler. 

 Its eternal sound rings out

 through planets, moons and suns. 

Mankind, listen to it too!”

 

Little German Cantata

In the summer of 1781, Mozart began composing the “Magic Flute” (Die Zauberflöte), in collaboration with fellow Mason Johann Emanuel Schikaneder, author of the libretto (opera text), director of the Viennese National Theatre.

The “Magic Flute”, a musical masterpiece, highlights the coexistence and interaction of the Humanistic Ideas of the Enlightenment and the Masonic Values.

It is an allegorical journey into the Enlightenment filled with Masonic Symbols, where the Triptych “Liberté, égalité, fraternité” (Freedom – Equality – Fraternity) is diffused throughout the plot of the play, which highlights the rituals of Masonic Initiation in a musical feast with many elements of fiction.

The “Magic Flute” is one of the most characteristic works where musicological discourse has identified clear elements of Masonic Ideology and Symbolism.

The “Magic Flute”, within the philosophical and cosmological framework the 18^th century  Freemasonry, is  an allegory of the “Search of the human Soul for inner Harmony and Enlightenment”. (Pasalis, 2007).

An allegory of Initiation and Moral Ascension, directly linked to the wider intellectual horizon of the Late Enlightenment (Heard, 1995).

It is noted that Brothers Mozart and Schikaneder, who were the first ones to overcome the conservative / sexist views of the Masons of that time, present the participation of a woman in the initiation ceremonies that lead to the ineffable depths of Freemasonry and the entrance of the uninitiated into enlightened life through this work.

 

The “Magic Flute” highlights Gender Equality through Pamina’s invitation to participate in the initiation.

Scholar Julian Rushton argues, that ultimately the title of opera in the true Enlightenment must be that “women must be initiated.”

In the second act of the work, it is stated that: “A woman who is not afraid of the night and death, is worthy of initiation.”

The two main protagonists of the project, Tamino and Pamina, after the trials of water and fire, are led TOGETHER, as initiates, towards the Light.

The musicologist H. C. Robbins-Landon argues that the “Magic Flute” highlighted Mozart’s desire to reform the Masonic Landmark which prohibits women from entering the Masonic Order.

The “Magic Flute” is the grand highlight of Masonic Values and Principles: Ethics, the elimination of Ignorance, the Virtues of Knowledge, Justice, Wisdom, Love, Fraternity and Truth.

• A dominant position in the “Magic Flute” is occupied by the concept of Initiation and the Search for Truth.

Tamino’s course through successive trials reflects the tectonic path of transition from the Darkness of Ignorance to the Light of Knowledge, of Truth. This course presupposes Discipline, Self-Knowledge and Moral Self-Improvement (Rice, 2005).

 

Initiation is presented as a process of cultivation of Logic and internal Stability, Balance, Harmony, central elements of Masonic Teachings.

• The “Magic Flute” promotes the Principle of Virtue as a necessary prerequisite for the transition to Wisdom.
• Self-mastery, Temperance and Honesty emerge in the opera and the heroes must embody them.
• The requirement of Silence and Restraint during trials refers to tectonic behaviors aimed at cultivating spiritual maturity, (Solomon, 1995).
• The predominance of Light over Darkness is a strategic juxtaposition that organizes dramaturgy on a symbolic level. Light symbolizes Reason, Balance, Wisdom and Justice, while Darkness is associated with Ignorance, Lack of Knowledge and Authoritarian Power.

Sarastro’s victory over the Queen of the Night is a clear convergence with the Masonic symbolism of the prevalence of Reason and Truth (Hunter, 1999).

• The “Magic Flute” also highlights the value of Fraternity and Equality.

The Community of Priests functions as a form of “Lodge”, where members are linked by the same moral cultivation and mutual respect.

• The presence of Papageno, a simple and everyday hero, reinforces the Masonic belief that Human Value is not determined by external characteristics but by Internal Integrity.
• Finally, the dramatic use of the four elements: Earth, Air, Water and Fire in the final tests, refers to symbols of purification and spiritual upliftment, which are basically in the Masonic allegorical tradition.

Through these elements, heroes are ‘purified’ and emerge in a higher moral state (Lockwood, 2007).

The “Magic Flute”, in general, constitutes a multilevel allegorical system, in which the Masonic Values of Initiation, Virtue, Reason, Fraternity and Moral Purification function as structural elements of dramaturgy and co-shape the ideological message of the play.

The opera thus emerges as a work not only of Music, but also of Philosophical and Moral Value, inextricably linked to the spiritual climate of the Enlightenment and Masonic Philosophy.

A Vision is projected for a human society characterized by the Values of the Enlightenment and the Masonic Ideals, where mankind will aim at a higher spiritual level.

The frequent reference to the Light in its allegorical and symbolic sense, in a simplistic fairy tale, as the content of the work appears at first glance, enables the uninitiated to enjoy one of the best, timeless, musical works, while at the same time if offers Masons a chance to “relive” their Initiation and the beginning of their journey towards the Light.

The triumph of Light over Darkness is always a deep desire, a strong expectation that one strives for throughout one’s life.

The central theme developed in the “Magic Flute” is the power of Love for mankind, setting the main characters of Tamino and Pamina as models, who manage, thanks to Love and with the help of Music, to overcome their trials.

 

Almost every scene and dialogue can be seen as a symbolic confrontation of Good and Virtuous against Evil, while the same conflict, dramatized intensely thanks to music, is conveyed to the viewer by the diametrically opposed protagonists of the Queen of the Night and Sarastro.

The battle of Good against Evil, the Search for Truth, Virtue, Kindness, the Power of Love and Faith in the great Ideals of Life, the main characteristics of the work, are the result of Mozart’s Masonic experiences.

Tamino’s original mission is gradually transformed into a need for the Idea of Enlightenment to prevail, for Justice to triumph for the benefit of peoples along with Knowledge and Enlightenment.

 

 

Mozart never wrote music for Eternity, and it is for this very reason that most of what he wrote is destined for Eternity!

Albert Einstein

 

 

Summary of the “Magic Flute” (ELAINE PAULIONIS PHELEN)

 

The play seems to be set in ancient Egypt, where the worship of the gods Isis and Osiris dominated. There on the banks of the Nile lived Sarastro, the Worshipful Grand Master of the Mysteries of Isis.

In the same area lived the Queen of the Night, a proud vengeful woman who loved the dark. The Queen lived with three women and her daughter Pamina, kind, virtuous with spiritual

Restlessness. Sarastro arranged for Pamina to be transferred to the Palace of Wisdom and Peace in order to help her develop her virtues.

The Queen is in great sorrow for the “kidnapping” of her daughter and seeks revenge as well as the return of Pamina.

At the same time, near the Queen’s castle, Prince Tamino is lost in the unknown world of Nature looking for the unspoken truths and there he is chased by a serpent. The serpent, as an expression of the lower elements of our nature, wants to hinder Tamino’s will to escape from his constant preoccupation with earthly things and begin his spiritual advancement.

Collapsing from exhaustion, Tamino is saved by three ladies in the service of the Queen of the night, who kill the serpent with their silver javelins.

When Tamino awakens, he meets a bird catcher named Papageno, who resembles a bird himself being covered with plumage. When Papageno boasts that he strangled the serpent, the three ladies reappear and punish Papageno for lying to the prince.

The women place a padlock over Papageno’s mouth.

After he learns that the women killed the serpent, the Prince expresses his appreciation for their actions in saving his life. The women give him a picture of Pamina, the beautiful daughter of the Queen of the Night, who they say has been kidnapped by the evil magician Sarastro.

Tamino instantly falls in love with Pamina. The Queen appears and entreats Tamino to rescue Pamina promising that he can marry Pamina if he is successful. He agrees to the quest, and the women give Tamino a magic flute that can change men’s hearts

Removing the padlock from Papageno, the women present him with silver bells to be used for protection. Papageno and Tamino set forth on their quest, guided by three boys.

In Sarastro’s Palace, Pamina is guarded by a villain named Monostatos, who is attempting to seduce her.  Sent ahead by Tamino, Papageno arrives and terrifies Monostatos into fleeing. Papageno then announces to Pamina that her mother has sent Tamino to rescue her.

Pamina rejoices to hear that Tamino is in love with her.

At the end of the first act, the scene changes and a small forest and three temples, Wisdom, Reason and Nature, are revealed.

Lead by the three boys, Prince Tamino arrives at a temple. He finds three doors, but he is denied entrance to the doors of Nature and Reason. When he tries the third door, the Gate of Wisdom, a priest appears and explains that Sarastro is good and the Queen is the evil figure. After the priest leaves, Tamino plays his magic flute in hopes of summoning Pamina and Papageno and ward off wild beasts saying:

O endless night! When will you vanish?
When shall my eyes see light? –

Papageno appears with Pamina and they are apprehended by Monostatos and his servants. Papageno plays his magic bells, and the villains are enchanted to release Pamina and Papageno.

Hearing the approach of Sarastro, Papageno is frightened and asks Pamina what they should say. She replies, “The truth! The truth! Even if it were a crime.” Sarastro and his followers arrive and Sarastro conducts a judicial proceeding. During the trial, Pamina confesses that she was trying to escape because Monostatos had demanded her love. Forgiving her, Sarastro informs Pamina she is free of Monostatos , but he will not allow her to leave. Arriving with Tamino as captive, Monostatos enters and tries to convince Sarastro that Tamino deserves retribution. Sarastro denies Monostatos’ claims and sentences him to receive 77 strokes of the bastinado. Tamino and Papageno are taken into the Temple of Trial to be purified, and the First Act ends with a chorus:

 

“Brethren! Initiates of the Temple of Wisdom; Servants of Isis and Osiris! Tamino, who is waiting at the Northern Gate of the Temple, is yearning to be free of the veil of the night, he wants to behold the sanctuary of Light.”

 

A council of priests, including Sarastro, deliberate and determine that Tamino shall be allowed to have Pamina if he succeeds in passing through the Temple of Ordeal. The council does not want Pamina to be returned to her mother, the Queen of the Night, who they believe has infected the world with superstition. Subsequently, Sarastro prays to the gods Isis and Osiris, asking for the protection of Tamino and Pamina by requesting that the Gods take the two into their heavenly dwelling place should they meet death in the course of their trials.

Back at the Temple of the Ordeal, Tamino is cautioned that this is his last chance to turn back. He responds that he will undergo every trial to win his Pamina. The priest also asks Papageno if he will concede to every trial, but he replies that he is uninterested in obtaining wisdom. The priest responds that Papageno may receive a woman, Papagena, if he undergoes the trials. Papageno agrees to also undergo the trials.

Tamino and Papageno are instructed that their first trial is that they must remain silent under the temptation of women.

Three ladies appear and tempt them to speak.

Tamino and Papageno remain firm, although Tamino must constantly restrain Papageno commanding him to be “Still!” Papageno confronts one of the priests demanding to know why he must undergo tests if Sarastro already has a woman that wants to be his wife. The priest responds that it is the only way.

In a garden, Monostatos approaches and gazes upon a sleeping Pamina with rapture. The Queen of the Night appears and tells Pamina that she must kill Sarastro if she wishes to remain her daughter. She gives Pamina a dagger with which to kill Sarastro. Observing the conversation, Monostatos tries to force Pamina to love him by telling her that he will reveal the exchange. Sarastro appears and rebukes Monostatos, while reassuring Pamina.

Approached by Pamina, Tamino and Papageno continue in their ordeal mandated silence. Papageno can no longer hold his tongue, but Tamino remains firm. Since Tamino refuses to answer, Pamina believes he no longer loves her and is heartbroken. Yearning for his woman, Papageno plays his magic bells. At the first ordeal, an old woman approached Papageno declaring herself his bride. Reappearing, she has transformed herself into the young and pretty Papagena. The priests send her away with thunder and lightning. Frightened, She vanishes and Papageno is miserable. Shattered by Tamino’s rejection, Pamina attempts to commit suicide but is stopped by the three boys.

Sarastro and Pamina appear, and Tamino is allowed to speak with her and assures Pamina of his love. Pamina and Tamino are allowed to undertake their final ordeals together, fire and water.

When the two young people are now preparing for the final test, two guards read carved letters on small pyramids:

“He who treads the road full of care,

Is purified by fire, water, air and earth.

If he can overcome the fear of death,

he soars heavenwards away from earth!”

Enlightened, he will then be able

to dedicate himself entirely to the mysteries of Isis. “

Pamina and Tamino complete the test of Purification from the elements of nature and are led to the gates of a burning lake through which they had to pass, they come out unharmed on an altar in front of Sarastro amidst cheers of triumph from the priests present.

Then the forces of evil, Monostatos, the Queen of the Night and her three companions, try to reach the temple, holding black torches. Suddenly, blinding beams of light are poured into the darkness, causing them to lose their powers and get lost in the depths of the earth.

In the last scene, which unfolds in the Temple of the Sun, Sarastro, Pamina and Tamino are presented in priestly vestments, the priests and the three spirits.

Sarastro sings that “the rays of the sun drove away the night and the forces of evil” to be followed by the dance of the priests praising the initiates. The Worshipful Grand Master Sarastro welcomes the young lovers at the entrance of the Temple, unites them and all together glorify the Victory of Power, Beauty and Wisdom, the Victory of Good over Darkness.

With this work, Mozart highlights the existential agony for the predominance of Light over Darkness, Good over Evil, Knowledge over Ignorance, because this is the only way out for an Ideal Spiritual World.

In the “Magic Flute”, Mozart encompasses all the Masonic Teaching that influenced his life and work.

The masonic symbolism is considered visible in the emphasis given to the number three, as well as in the content of the tests which is largely associated with the Admission Initiation of the members of the masonic lodges.

It is noted that the premiere of the “Magic Flute” took place on September 30, 1791 at the Schikaneder Theatre in Vienna.

It is also worth mentioning that eight days before his death Mozart  will direct himself, on November 18, 1791, the Little Masonic Cantata “Praise of Friendship”, in the installation of the new building of his Lodge and this is practically his last work.(Tassios, 2007)

 

Neither a lofty degree of intelligence nor imagination nor both together go to the making of genius.

Love, love, love, that is the soul of genius.

Wolfgang Amadeus Mozart

 

EPILOGUE

The Moral Principles in Mozart’s opera “Magic Flute”, as they emerge from its dramatic structure, are a characteristic example of the aesthetic and moral thinking of the Late Enlightenment, incorporating a multi-layered system of allegorical meanings.

The search for Wisdom and Truth is central. The trials endured by the protagonists reflect the enlightening core of the work: Knowledge is not provided, but conquered through Spiritual Discipline and Moral Uplift, (Heard, 1995 ).

At the same time, the work highlights Virtue as a fundamental parameter of moral constitution. Honesty, Temperance and Kindness are non-negotiable values that determine man’s path to the Light. (Solomon, 1995).

Additionally, the dramatic battle between Light and Darkness articulates a symbolic dialectic that reflects the Moral Philosophy of the Enlightenment.

Light symbolizes Reason, Balance, Wisdom and Justice, while Darkness is associated with Ignorance, Lack of Knowledge and Authoritarian Power (Rice, 2005).

The “Magic Flute” highlights Love as a Moral and Existential Power.

Tamino and Pamina’s relationship is presented as a process of mutual maturation, where emotional loyalty acts as a drive for Self-Knowledge (Lockwood, 2007).

Finally, the presence of characters such as Papageno highlights the value of social Solidarity and everyday human kindness. His contribution to dramaturgy reminds us that Morality is not limited to high ideological principles but is also embodied in simple, spontaneous acts of humanity, (Hunter, 1999).

In conclusion, the “Magic Flute” functions as an allegorical composition that combines music, theatricality and philosophical reflection, arguing that Virtue, Knowledge and Cooperation are necessary prerequisites for individual and social progress.

Mozart’s Masonic faith made him embrace the principles of the Enlightenment, such as Faith in Human Progress, Brotherly Love, Justice, and the Search for Truth.

 

Mozart’s Music was so pure

that it seemed to have been ever-present in the universe,

waiting to be discovered by the master

 Albert Einstein

 

 

SOURCES AND CITATIONS

1. Drosos G.,(1989), ” B. A. Mozart “, Zacharopoulos, Athens
2. Vassiliadis G.(1991), ” Mozart: years of maturity (1783-1791)”
3. Papageorgiou Dimitris ,(2016), “W. A. Mozart and the Magic Flute”.
4. Pasalis V. (2007), “ V.A.Mozart, The Magic Flute Musical Drama 1781”, Pythagoras Masonic Bulletin no. 96, Athens.
5. Tassios P.Th. (2007), “W.A.Mozart, the Man and the Mason”, Pythagoras Masonic Bulletin Issue 96, Athens.
6. Tassios P.Th. (2004), ” Three centuries of Masonic Music and public concerts “, Angelaki, Athens.
7. Baker R. (1991), “Mozart”, Libro, Athens.
8. ELAINE PAULIONIS PHELEN, (2015), “The Masonic Philosophical Society-Mozart’s Masonic Opera: The Magic Flute”
9. Heard, D. (1995). Mozart’s Operas. University of California Press.
10. Hunter, M. (1999). “Magic Flute and the Enlightenment Values.” Cambridge Opera Journal, 11(2).
11. Lockwood, L. (2007). Mozart: A Life. W.W. Norton.
12. Rice, A. (2005). Mozart on the Stage. Cambridge University Press.
13. Solomon, M. (1995). Mozart: A Life. Harper Collins.
14. Till, N. (1992). Mozart and the Enlightenment: Truth, Virtue and Beauty in Mozart’s Operas. W.W. Norton.
15. “Arizona Opera & Evermore “Arizona Opera & Enterprises www.evermore.com/azo/96season/mf_syn.php3.