The genesis of the Magic Flute is shrouded in darkness. E 'rightly so. All great works should be shrouded in mystery.
Maybe even today, in a dark place surrounded by the most absolute secrecy, a man is working on an immortal work.
Officially, the libretto of the Magic Flute was written by Schikaneder, Mason of a Lodge in Vienna, but we must admit that is strongly influenced in any direction of the writer and Freemason Mozart.
He decided that this work was his spiritual testament. Too higher the symbolic meaning of the text to be able to give only Schikaneder, certainly clever man of the theater and good singer, but right interpreter in the work of the character of Papageno and not to Camino.
On the other hand already in the finale of Mozart Abduction from the Seraglio turned a fictional story in a parable lessinghiana on generosity and on human society.
We know that documents of the 'era of Mozart testify unequivocally belonging to the Lodge "The Charity", which was started December 14, 1784, in Vienna.
this condition, the has certainly helped in the study of mythology and in particular on its deeper meanings.
Mozart probably read the essay by Plutarch on Isis and Osiris and the last book of the Metamorphoses of Apuleius.
He was unable however to be aware of the esoteric meanings of the Sphinx and the pyramids of Egypt, because they still waiting for Napoleon in the sand of the desert.
papers.
Some authors have used consciously Mozart Masonic symbols, symbols that are certainly a philosophy and a particular moral, but they seem to be mediated in some way from the spirit of the eighteenth century humanist and progressive. Amazing
instead is the fact that this work is constantly permeated and enriched by the fullness of unconscious symbolism and meaning contained are based on universal human archetypes.
The Adventures of the Magic Flute is the story of the passing hours and chase, the light and shadows of darkness becomes light that returns.
early as Papageno, singing and whistling out of the woods it is morning. Sarastro down from his chariot in the hot midday.
Then the day tilts toward the twilight and the universe is hidden by a 'terrible darkness in which he begins the journey of initiation of Tamino. A few hours pass.
closed by the choir of Priests of the Temple began to invoke the splendor of light.
The three Genii announce that soon the sun will come back to walk his golden road.
The perils of the night have not yet won, and only when Tamino and Pamina will have gone through the fire and water, full sun, the sun without shadows and light scrub the floor.
The same journey is the soul of every initiative that could repeat the cry of Tamino: "O night when backhoe and disappear ? When the light will last my eye? ".
The ritual initiations of all men have a motto:" Through the night into the Light.
"This means that the direction of what happened is determined by a symbolic journey from that night of 'Hero of the sea, known as solar symbolism.
dying in the evening at' the west, the sun must make the journey through the sea's dark underworld and death, to rise again, transformed as a new sunshine 'east.
This symbol is the solar archetypal model of all the heroes and all the ways in which the initiatory' hero is the principle of consciousness that must be achieved and who is able to combat the dark forces of the 'unconscious.
addition the hero must also leave the treasure to fill all the topics related to it and must do so by fighting the dark forces of the enemy's consciousness.
Paradoxically, we can say that Mozart is the 'Hero and The Magic Flute is a treasure to be freed him.
is not the intention of this paper to summarize the plot of 'work, but it is interesting riportare in sintesi il contenuto di quelle parti iniziali del libretto che, seppur scritte, non vengono mai rappresentate.
Se ciò accadesse molte delle incongruenze di cui è accusato il testo cadrebbero automaticamente.
Prima della nascita di Tamino e Pamina una coppia sovrana dominava il mondo: un Re solare, di cui ignoriamo il nome e la potente Regina della Notte.
Tra il principio virile e quello femminile, tra luce e tenebre esisteva allora un mutuo accordo.
Questo appare evidente dal fatto che il Re tagliò il magico flauto dal tronco di una quercia millenaria in un ora stregata, fra lo scatenarsi dei tuoni e dei lampi, nel rumore della tempesta notturna:
cut it with 'decisive help of the Queen of the Night which then belonged to the sovereign as the charms night.
Some might therefore believe that at that time harmony reigned between the opposing principles, and only the good "nourish the earth."
In fact, the union between the two monarchs was a compromise rather than a loving embrace: with contempt because her husband kept his wife away from things, the text reads, which are incomprehensible to the feminine spirit.
Neither the strength of the King must be understood as beneficial to the whole: he wore on his breast the sevenfold circle the sun, the sign of its power that it consumed all things.
The sun, as it was incarnated in him, was a force that burns and dries, which gives life and takes it off, remove the vegetation that absorbs the power of mother ' humidity, makes it uninhabitable and barren soil.
With the death of the sovereign sun the two kingdoms of light and darkness fall, they become enemies and the queen is defeated.
now lives in his house full of birds and surrounded by dense forest vegetation.
A Temple cult still remembers her three ladies lend their services, but has lost the solar circle of her husband and her daughter, the only reminder of the luce, le è stata strappata ed è prigioniera nel castello di Sarastro.
Il settemplice cerchio solare, simbolo della forza, ora riposa sul petto di Sarastro venerato da un popolo di Sacerdoti e di schiavi.
Visto dall'esterno il Flauto Magico è un' opera divisa in due atti, ma in realtà è ordinato secondo il numero tre, numero sacro per la Massoneria, che è presente nella partitura musicale con le note del triplice accordo dell' ouverture, ripetute all' inizio del secondo atto e al momento della iniziazione di Tamino.
Tale atto, ad un più attento esame, finisce con la ventesima scena e quindi possiamo identificare sicuramente un terzo atto nascosto per la esigenze teatrali del tempo di Mozart.
Questa parte inizia con il coro dei sacerdoti.
La struttura dell'Opera si fonda sul simbolismo prettamente massonico della piramide.
Il primo atto costituisce la base: in esso predominano le forze ctonie e la Regina della Notte.
Nel secondo atto si ascende con l'iniziazione alla zona centrale dell'edificio dove si rappresenta la lotta fra la luce e l'oscurità.
Il terzo atto costituisce la cima della piramide e in esso viene celebrata l' unione fra il maschile e il femminile, come segreto di Iside e Osiride.
Vista questa disposizione appaiono più chiare alcune analogie. Nel primo atto la Regina della Notte si manifesta come madre buona, nel secondo diventa madre terribile, nel terzo è sprofondata all'opposto della cima della piramide, cioè negli abissi.
Anche la triplice comparsa del tema musicale si inserisce a vari livelli. Nel primo atto appare quando viene elaborato il principio d' amore della natura, nel secondo ritorna quando l' umanità raggiunge il paradiso della ragione e ritrova il suo stato originario divino.
Per la terza volta il motivo ritorna all' inizio dell' ultima parte in cui viene compiuta l' unione misterica tra Tamino e Pamina.
Mozart ci vuole esprimere come ciò che a livello inferiore avviene nella natura and the average in the human community, also penetrates the center of 'man. No coincidence that there are three temples: one at the opposite sides of Nature and that of reason and at its center is the Temple of Wisdom.
's work of Mozart, it is highly symbolic, can be read with varying degrees of significance.
We have written before how it is constantly pervaded by an unconscious symbolism that makes it possible to have different interpretations.
If we consider it a fairy tale certainly has its roots, like all fairy tales, in the archetypes of 'humanity, but perhaps more of the other reveals to us and immerses us in the great world of primary fact, most of the stories of ancestral 'Oresteia, most of' King Oedipus, Faust, King Lear.
If we examine the text in this light, it becomes even more clear the nature of the bottom of the conflicting figures represented on the one hand and by the Queen of the Night 'by another priest Sarastro.
Queen of the Night is the dark side of what the moral experience as men "evil" in the course of 'action becomes the image of all affected hazardous, especially revenge and pride, but above all is the principle that embodies the power of evil and the death of the criminal wants to take the bright side, the sun of the Good.
The women once again becomes the tempter, fully assumes the role of the devil by deception, superstition, deceit. When the Queen of the Night says.
"Revenge of the 'Hell boils in my heart" and even "death and despair in me burn," she expresses the deepest secret of his being.
Astriffiammante is the original symbol of the world, the unconscious, which is opposed to the male that is consciousness, which is light on the path of self-realization.
Ella è anche il simbolo della Grande Madre, la Dea della Notte che l' Eroe mitico Tamino deve sconfiggere nel suo cammino verso l'iniziazione.
Nel corso della trama altri rapporti vengono a legare archetipicamente i personaggi. Il primo è quello tra la Regina della Notte e Pamina che corrisponde alla situazione archetipica rappresentata dal mitologema do Demetra e Core.
La stretta unione di Pamina e più in generale della figlia con la madre, il suo ratto ad opera del maschile e la resistenza alla madre, costituiscono a tutt'oggi un conflitto essenziale nello sviluppo del femminile, momento nel quale si decide se la figlia apparterrà al mondo matriarcale, a quello patriarcale o a quello dell' meeting with the 'beloved.
Pamina will run this latest way to fly up to join to form the couple Harmonica with Tamino.
Interesting I can still look at a 'different relationship: that between Tamino, the' Hero-Prince and Papageno, the 'bird man.
Goethe about this kind of characters he wrote in Faust. "Ah, two souls dwell in my chest, the 'one you want to separate from' other.
's a clinging, with sound bodies and fierce joy of' love in the world, the 'other stands' s surge dust on earth to the fields of remote ancestors. " The
cammino iniziatico dei misteri è, senza dubbio, il cammino dell' eroe, di Tamino, ma il suo slancio ascetico-idealistico sotto il segno della virtù e della saggezza è in naturale contrasto con la razionalità di Papageno che rappresenta la paura e l' indolenza dell' uomo comune che si ritrae dall' ascesi e dallo sforzo.
Papageno dice. " Io non voglio in fondo sapienza, io sono un uomo naturale che di sonno, cibi e bere si accontenta e se è possibile catturare una bella donnetta".
Tamino è invece l'eroe che va verso la notte rischiando la morte per arrivare al celeste piacere dell' iniziato.
Egli rappresenta il principio della coscienza che deve essere raggiunta and who is able to fight with the dark forces of the 'unconscious.
He is the treasure hunt that is the symbol of 'expansion of consciousness, which is the profit of each initiation such as in the famous work of Apuleius, where the' Osiris gets started, that is enlightened and enlightening.
Papageno is unable to participate in 'higher spiritual flight of Tamino, but not without undergoing a transformation, only that it takes place in the' context of the natural world, not less, but that vibrates at a frequency large.
Mozart's greatness is expressed in all of its light when he shows us how the mystery of the top 'initiation is filled with the same force d 'love that animates the world of Papageno.
We have seen how the Queen of the Night is the unconscious, especially as a terrible mother, as Papageno is "the shadow" of Tamino and Pamina as not only the 'beloved Tamino to conquer the outside, but is a symbol of' soul to conquer through the test.
Let me explain more clearly: Pamina of Tamino is the soul itself, the 'image of women living humans.
But Pamina is not only to save the princess, she is transformed, experiencing the feminine symbolic death, that is detachment from the matriarchy, in Tamino's bride worthy of initiation.
The mystery of the Magic Flute is performed and the union between male and female is accomplished by taking the maximum symbolic value.
In 'the face' initiation is Pamina Tamino himself led by the hand to the evidence of 'water and fire. This does not mean its dominance, but the greater affinity of women to nature and the principle of 'love, as the essence of the heart, leads to a level of wisdom.
The perfect union of two lovers bears the sacredness of everything and then they will be not only the 'hermaphrodite, the' androgynous, but reborn deified, and so, like Isis and Osiris, will be triumph over death.
We see the last character is a priest Sarastro.Egli solar, such as those that prevailed in the ancient theocracies' s East.
possesses superhuman qualities, a kind of sixth sense that makes him recognize the innermost thoughts and secrets of 'man.
The most serious songs, the music more solemn rites more impressive, the 'atmosphere more darkly mysterious and venerable form the backdrop to an endless echo to his figure.
It can be noted as Sarastro represents the male principle that is not entirely done with the 'union with the female.
E 'a priest, not a God incarnate, in his kingdom there are not only free men and slaves.
Sarastro is indeed the shining sun that beats on the night, but it is a minor figure compared to the couple's triumphant.
the scene of the Magic Flute happens mysteriously 's event for thousands of years the earth waiting for: the light and dark, the masculine and feminine, consciousness and the unconscious, meet the principle of Love.
In this fable there is apparently one of the secrets revealed more real than the initiatory journey we must walk.
This is the noble message that Mozart gives us, a message that he is well aware that for many, even as he started in the Masonic lodges, only a hope.
Sarastro in 'last scene is at the top, the whole theater is light and joy of trumpets and celebrates the triumph, but what does this triumph, perhaps, the darkness and night were annihilated?
seems rather than as Tamino and Pamina make their journey, the sun is harbored at the source of the night: his treasures, which are absorbed the music, the passion of love, pain, nature, and they cleansed and purified and illuminated itself.
So really the Queen of the Night was emptied by the energies of his kingdom and its former power between thunder and lightning and falls into 'abyss from which it can no longer rise.
But the manly realm of Sarastro has come to an end with his chains, his slaves and the destructive force of the sevenfold circle the sun. A new age is born something that no one had ever known.
If man and woman love each other, if virtue and justice are the path to our existence, if the sweet calm down in our hearts, then "the earth is a heavenly realm of gods and mortals. "
This is what Mozart is proposed, what esprime all' unisono la sua musica e la sua poesia.
In fin dei conti la musica è l' arte in cui gli abissi dell' inconscio sono fusi misteriosamente con la creazione spirituale, l' arte dove si realizza la conjuctio fra maschile e femminile tanto cara a Jung.
Non a caso sarà il flauto che con la sua musica magica permetterà ai due giovani di superare le prove iniziatiche.
La scala dei sentimenti propri della musica mozartiana che abbraccia tutto il mondo, trova nel Flauto Magico la sua espressione più alta.
Il tono popolare e comico, la sensualità istintiva e la solennità sacrale di fronte alla morte si succedono e si alternano continuamente.
We can say that when it reaches its climax in the musical sense and spiritual, is immediately introduced a motion to reverse that prevents spiritual lyricism to become romantic and solemn seriousness of becoming tragic.
Mozart which was started by switching between white and black on the floor of the Lodge 'only viable path, that of the thread of unity.
The music and poetry to lead the Magic Flute 'ineffable, we see once again that flash of light that shone for a moment during the collapse of the Temple of Solomon when the curtain fell.
DA Freemasonry: symbols and archetypes in The Magic Flute by WA Mozart
Bruno Gazzo
http://www.freemasons-freemasonry.com/flautom.html
ANIMATION - THE MAGIC FLUTE
"A masterpiece of animation, the Magic Flute by Emanuele Luzzati - taken from ' Mozart's opera of the same name - use two-dimensional figures give meaning to more than ever, people find it even more profound and disturbing.
Luzzati reinterprets the music in Mozart's fairy-tale key, without the empty Its authentic content.
Emanuele Luzzati enchanted with its representations of reality and child was the most significant and original authors not only of Italian, but the animation of the sixties and early seventies. "
THE MAGIC FLUTE
IO embodied soul in this world, I CAN ONLY SAY THAT MAYBE NOT HEAVENLY ANGELS OF HEAVEN CAN BRING THE MELODY.
THANKS "AMADEUS".
YOU IN THIS WORLD THROUGH MUSIC unable to connect to God and make me AGAIN feel part of all creation.
MICHAEL P.
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