EURO ST 10 Lecture Notes - Lecture 81: Aria, Dialectic, Francisco Goya
Course CodeEURO ST 10
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Europe Studies 10
Course Code: 24000
2018 Fall Quarter
● Empress Joseph the second
○ Maria Theresa’s son
○ Marie Antoinette’s brother
○ A strong supporter of the Freemasons
○ Mozart’s patron
○ “...too many notes...”
● Enlightened as challenge/Challenge as enlightenment Recall Kant’s “dare”
○ What must the characters go through?
○ Tamino’s and Papageno’s initial tests (e.g., silence, self-restraint)
■ Are they coded in any way?
○ Pamina, too, must show resolve in first “losing” Tamino
○ The “trials” of fire and water
● Pamino and Tamina’s triumph over challenges (enlightenment)
○ Triumph! You noble pair! You have overcome the danger! You are now
consecrated to Isis! Come, enter the temple!
○ My point is that these “challenges” or “initiations” (recall the Masons) are
presented playfully in the opera, but they symbolize or stage a crucial idea of the
■ Man (and woman?) must step out of self-incurred tutelage and become
mature, have a voice, be mundig
● Papageno’s limited enlightenment
○ Papageno’s “suicide attempt”
○ Papageno and Papagena
○ Why does he get his girl after all?
■ Why is it relevant that he was willing to commit suicide?
○ In order to take the first step out of his “state of nature”
■ He (human beings) must also be willing to give up nature/life
○ We saw him earlier too attached to “natural things” (food, wine, talk) to deal with
■ Here he is willing to give up all these things
● And so he gets “rewarded” at a higher level
● A triumphant or problematic conclusion?
○ What does the finale symbolize?
■ What happens to the opposing forces?
● What happens to the “others” (the queen, the ladies, monostatos)?
○ Absolute triumph of enlightenment and banishment of the “others” (into darkness)
● Oppositional thinking
○ Return to the Sarastro’s aria
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