“While the Eternal Feminine in Faust II still appears in personalized form as the Madonna, she works her effects in The Magic Flute as an invisible spiritual power, as music. But this music is the expression of divine love itself, which unites law and freedom, above and below, in the wisdom of the heart and of love. As harmony, it grants humankind divine peace and rules the world as the highest divinity.From the earliest times, magic and music have stood under the rule of the Archetypal Feminine, which in myth and fairy tale is also the mistress of transformation, intoxication, and enchanting sound. Thus it is quite understandable that it is precisely this feminine principle that bestows the magical instruments. The Orpheus motif of the magical taming of the animal energies through music belongs to her, for as mistress of the animals the Great Goddess rules the world of wild as well as tame creatures. She can transform things and people into animal form, tame the animal, and enchant it because, like music, she is able to make the tame wild and the wild tame with the power of her magic.”

“I quite deliberately dressed wild animals in tame costumes of my imagination.”

“We talk of wild animals but man is the only wild animal. It is man that has broken out. All other animals are tame animals; following the rugged respectability of the tribe or type.”

“Music is the strongest form of magic.”

“Hear and attend and listen; for this befell and behappened and became and was: O my Best Beloved, when the tame animals were wild.”

“The theater troubled her. It had a magic of its own, one that didn’t belong to her, one that wasn’t in her control. It changed the world, and said things were otherwise than they were. And it was worse than that. It was magic that didn’t belong to magical people. It was commanded by ordinary people, who didn’t know the rules. They altered the world because it sounded better.”