opera for which he had written the book, in conjunction with one of his actors and choristers, named Gieseke (though this fact never received public acknowledgment at his hands).  Wieland’s “Oberon” had filled the popular mind with a great fondness for fantastic and Oriental subjects, and a rival manager had been successful with musical pieces in which the principal character was the popular Kasperl.  Casting about for an operatic subject which should appeal to the general liking for romanticism and buffoonery at once, Schikaneder hit upon a tale called “Lulu; oder, Die Zauberflote,” written by Liebeskind, but published by Wieland in a volume of Orientalia entitled “Dschinnistan.”  He had got pretty deep in his work when a rival manager brought out an adaptation of the same story, with music by Wenzel Muller.  The farcical character of the piece is indicated by its title, which was “Kasper, der Fagottist; oder, Die Zauberzither”; but it made so striking a success that Schikaneder feared to enter the lists against it with an opera drawn from the same source.  He was either too lazy, too much in a hurry, or too indifferent to the principles of art to remodel the completed portion, but finished his book on lines far different from those originally contemplated.  The transformation thus accomplished brought about all the blemishes of “Die Zauberflote,” but also gave occasion for the sublime music with which Mozart transfigured some of the scenes.  This will be understood better if an outline of Liebeskind’s tale is made to precede the story of the opera as it came from Mozart’s hand.

A wicked magician, Dilsenghuin, has robbed the “radiant fairy” Perifirime of her daughter, Sidi, and carried off a magic talisman.  The magician keeps the damsel in confinement and persecutes her with amatory advances which she is able to resist through a power which is to support her so long as her heart is untouched by love.  Perifirime promises the hand of her daughter, whose father is the King of Cashmere, to Prince Lulu, son of the King of Chorassan, if he regain the stolen talisman for her.  To do this, however, is given only to one who has never felt the divine passion.  Lulu undertakes the adventure, and as aids the fairy gives him a magic flute and a ring.  The tone of the flute will win the hearts of all who hear it; by turning the ring, the wearer is enabled to assume any form desired at will; by throwing it away he may summon the fairy herself to his aid.  The Prince assumes the form of an old man, and, like Orpheus, softens the nature of the wild beasts that he meets in the forest.  He even melts the heart of the magician himself, who admits him to his castle.  Once he is within its walls, the inmates all yield to the charm of his magical music, not excepting the lovely prisoner.  At a banquet he throws the magician and his companions into a deep sleep, and possesses himself of the talisman.  It is a gold fire-steel, every spark struck from which