| Acknowledgements |
|
iv | |
| Abbreviations |
|
vi | |
| List of illustrations |
|
vii | |
| Other artworks mentioned in the text |
|
ix | |
| A calendar of relevant events |
|
xi | |
| A summary of the onstage drama |
|
xiii | |
| References to Acts and Scenes |
|
xvi | |
| Translation notes |
|
xvi | |
| Introduction |
|
1 | (10) |
| Chapter 1 Viennese origins |
|
11 | (26) |
| Chapter 2 A commentary on critical opinion to date |
|
37 | (45) |
| Chapter 3 A new approach |
|
82 | (6) |
| Chapter 4 The underworld drama and Tamino's virtue |
|
88 | (25) |
| Chapter 5 The significance of Papageno and Papagena |
|
113 | (41) |
| Chapter 6 Tamino's alignment with the Christ-figure |
|
154 | (4) |
| Chapter 7 The implication of chivalric sources |
|
158 | (20) |
| Chapter 8 The basis of conflict between Sarastro and the Queen |
|
178 | (9) |
| Chapter 9 The roman a clef: necessary background |
|
187 | (16) |
| Chapter 10 Part A: The Queen |
|
203 | (78) |
|
Part B: Pamina and Tamino |
|
|
220 | (22) |
|
|
|
242 | (20) |
|
|
|
262 | (14) |
|
Part E: Papageno and Papagena |
|
|
276 | (5) |
| Chapter 11 The alchemic process in the roman a clef |
|
281 | (33) |
| Chapter 12 The opera's republican purpose |
|
314 | (20) |
| Chapter 13 The librettists and the development of the libretto |
|
334 | (25) |
| Chapter 14 Some implications |
|
359 | (18) |
| Epilogue |
|
377 | (6) |
| Annex A An English translation of the Playbill for the first performance |
|
383 | (2) |
| Bibliography |
|
385 | (27) |
| Name Index |
|
412 | (13) |
| General Index |
|
425 | |
