THE MAGIC FLUTE
There is another musician who expresses, better than anything we can express with words, the Drama we are here trying to describe. He is Mozart in the 'Magic Flute.' The ideas of Carl Gustav Jung on Anima and Animus and the theme of The Steppenwolf by Hermann Hesse have been drawn from this musical work of Mozart. It has been said the symbolism of The Magic Flute might be inspired by Masonic secret clues whose public disclosure would have meant the death of Mozart. Professor Jung and Hermann Hesse also had connections with Freemasonry. In Damian the symbolism seems clear. He is a Cainite, a Son of the Widow, of Eve. In a list of Masons, published during my stay in Switzerland, there appeared the name of C. G. Jung. This would explain his contradictions in the analysis he made of the personality of Adolf Hitler and the German soul, including what he called the Aryan 'Collective Unconscious.' Yet I do not see what the theme of The Magic Flute can have to do with Freemasonry. Though, yes, that theme has to do, and very much, with Hyperborean tradition and revelation and with the highest Love poetry of the German Minnesänger. If Mozart were assassinated by the Freemasons that would have been for his freedom and independence, because he surely rebelled against them and because his work was too great, dangerous, altogether too German. Mozart marvelously describes the two classes of beings who inhabit this Universe. The semidivine of heroes, Vîras, with Pamino and Pamina; and the merely animal, corrupted by the Demiurge, the class of Sudras, Papageno and Papagena. In Steppenwolf these poles are represented by Harry and Hermine, feminine of Hermann (from Hermann Hesse), his Anima. Animus and Anima, HE-SHE and SHE-HE, already separated and in search of each other. The divine couple Pamino and Pamina choose a process of totalization, or Orphic individualization, through initiatic tests until achieving the plenitude of a Star, a Sun, directed by a Magus-Maestro by the name Sarastro, reminiscent of the Persian Zoroaster and hinting at a type of Aryan initiation neither Masonic nor Jewish.
As we advance through Esoteric Hitlerism we shall explain the symbolism of the Flute of Pamino and the 'Box of Little Bells,' of Papageno. The divine couple is sterile, the humans Papageno and Papagena mate for reproduction in a new partition and demiurgic prolongation of the species. The divine pair of Pamino and Pamina will give birth to the Alchemic Inner Son, Rebis, Homunculus. Perhaps without knowing it, because Music is Archetypes moving in Time, in effect clothing herself with this ethereal flesh, Mozart, the divine Mozart, giving us in this language a clear transparent eternal revelation: Lucifer and Lilith, Pamino and Pamina; Adam and Eve, Pagageno and Papagena. Two incontestable humanities without a bridge between them, two distinct beings even though of the same human form similar in appearance only. Between them a same Archetype shows itself in diametrically opposed ways, with another Meaning. Irreconcilable. I would dedicate The Magic Flute to Novalis. Just as The Art of Fugue by Bach is fulfilled at the 'highest pitch of the soul' on the peaks where the fiery lily of Eternal Love blossoms, A-Mor. Mozart brought into Time an archetypal legend that in Eternity can scarcely be contained in the motionless sigh of a statue. Mozart moved that breath and made it glide through Time. And now this music travels through the souls of the blessed and suffers to cross over our minds.
