accomplished.  The Queen of Night, however, does not abandon her scheme of revenge.  She appears to Pamina in her sleep, gives her a dagger, and swears that unless she murders Sarastro she will cast her off forever.  Pamina pays no heed to her oath, but goes on with her sacred duties, trusting to Sarastro’s promise that if she endures all the ordeals she will be forever happy.  In the closing scene, Monostatos, who has been inflamed against Sarastro by the Queen, seeks to kill him, but is vanquished by the might of the priest’s presence alone.  The night of the ordeals is over.  At a sign from Sarastro, the, full sunlight pours in upon them.  The evil spirits all vanish, and Tamino and Pamina are united amid the triumphant choruses of the priests and attendants, as the reward of their fidelity.

In the opening scene, after the encounter of Tamino with the serpent, Papageno has a light and catching song ("Der Vogelfaenger bin ich ja"), which, like all of Papageno’s music, was specially written for Schickaneder, and has been classed under the head of the “Viennese ditties.”  Melodious as Mozart always is, these songs must be regarded as concessions to the buffoon who sang them.  Papageno’s song is followed by another in a serious strain ("Dies Bildniss ist bezaubernd schoen”) sung by Tamino.  In the sixth scene occurs the first aria for the Queen of Night ("O zittre nicht, mein lieber Sohn"), which, like its companion to be mentioned later, is a remarkable exercise in vocal power, range, and gymnastics, written for an exceptional voice.  The next scene, known as the Padlock Quintet, is very simple and flowing in style, and will always be popular for its humorous and melodious character.  In the eleventh scene occurs the familiar duet between Pamina and Papageno, “Bei Maennern, welche Liebe fuellen,” which has done good service for the church, and will be recognized in the English hymn version, “Serene I laid me down.”  It leads up to the finale, beginning, “Zum Ziehle fuehrt dich diese Bahn,” and containing a graceful melody for Tamino ("O dass ich doch im Stande waere"), and another of the Viennese tunes, “Koennte jeder brave Mann,”—­a duet for Papageno and Pamina, with chorus.

The second act opens with a stately march and chorus by the priests, leading up to Sarastro’s first great aria ("O Isis und Osiris"), a superb invocation in broad, flowing harmony, and the scene closes with a strong duet by two priests ("Bewahret euch vor Weibertuecken.”) The third scene is a quintet for Papageno, Tamino, and the Queen’s three attendants ("Wie ihr an diesem Shreckensort?"), and is followed by a sentimental aria by Monostatos ("Alles fuehlt der Liebe Freuden").  In the next scene occurs the second and greatest aria of the Queen of Night ("Der Hoelle Rache kocht"), which was specially written to show off the bravura ability of the creator of the part, and has been the despair of nearly all sopranos since her time.  In striking contrast with it comes the majestic aria