The Author

Frank Heinrich: of American heritage, with family, residing in Leipzig Germany. He is considered as one of the few experts in Germany knowledgeable of the Masonic symbolic language.
After many years of research he published this fantastic book “The Mystery of the Magic Flute”.

magic flute

English American version, Pages 207, Paperback format
Price: 16,80 euros within Europe.  ISBN: 978-3-9812875-4-7
Price Amazon USA: 18 $
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Why this book has been written?

An infinite amount of books has been written about the magic flute. And for the Readers may raise  the question: Are there any new aspects about the magic flute that this book could report? This is a justified Question!

When, together with my friend and companion, I had been writing various books i.e. about the symbolism of the Völkerschlachtdenkmal[1] and other important memorials and places in Saxony and the surroundings, I personally perceived the fact that 80 years ago – when i.e. the Völkerschlachtdenkmal was built in Leipzig – the initiated (Freemasons) had an outstanding knowledge without which they would not have succeeded in constructing such a symbolic memorial. If I look at the present days then I experience a lot of doubts and mockery in reviews about our research and our book about this memorial.
Yet for someone mastering symbolism, the indications and particular characteristics on the memorial are all too obvious.
It is not our concern if today’s initiated are no longer capable of reading this symbolism but they stay with the laurels they received from the Brothers of the prehistoric times (Brüder der Vorzeit).
Later on, the research and the details we collected, have been provided by other authors – later on.
Beforehand, many people indulged in discussions and doubts.

This made me personally understand that I do not write for everybody. I just write for that part of humanity which is willing to deal with it’s ancestors. The one who does not feel related to the past, who is just living the here and now, looking at himself as a nine-day wonder, may so read other books – choosing what to him seems important.

I feel myself motivated just by the fact that it is of personal importance to me to bring lost knowledge up to daylight and according to this spirit I understand myself as a writing archaeologist – for all those who are searchers for spirit and knowledge.
 Now in our chaotic days seeing that all apparently stable foundations are falling apart and that humanity is imploringly longing for eternal values, I believe that my book about the Magic Flute may be a contribution to constitute and consolidate humanity. It is not about  transitory values, about values that tomorrow can no longer be legitimate and supporting, but it is about  the transcendental that is the eternal value behind a symbol. In my opinion, humanity does need information of another kind. Life of luxury that we tried to gain for everybody has got it’s price. At present, this life of luxury is – visible to all – being diminished and can not be kept up in permanence. It does not have eternal value and the price to keep it up in an artificial way will just show too expensive. A concept Dealing with the triviality and superficiality of matter as the non plus ultra, such a concept will be doomed to failure.

Novalis wrote: “[...] The observer may look in a serene and impartial way at the new epoch revolutionizing nations. Does this revolutionizer of nations not seem to him like Sysiphus? He just reached the summit of equilibrium and all of a sudden the mighty load rolls down on the other side. It will never stay at the top unless an attraction towards heaven would keep it hovering in the hights. All supports will be too weak if your government holds up a tendency towards earth. But tie it up to the hights of heaven by a superior longing, give it a relationship with the universe, then you will gain a never fatiguing spring and your efforts will be amply rewarded. I refer you to history. Investigate a little in its didactic coherence with similar times and learn how to use the magic wand of analogy.”

We have all become Epicureans. We are looking for beauty and flee pain. All that would be possible just for a certain short Time. Then reality will catch up again. Our reality is marked by debates i.e. with Islam in its fanatic trend. We are facing a development that makes us anxious and worried. And we are imploringly looking back into the past. I do not look at this past as a matter of some years only but as the past of humanity in general. To us this past is a book with seven seals. Mist and darkness have been covering it. And what we see is – nothing. Unable to deal with them our daughters and sons would now stand by the memorials of our ancestors with their cellphones. Those memorials appear uncool to them.

In 1920 the rosecrucian Jenning prophetically wrote:
 “In our days without faith, in which science (as it is called in an arbitrary and negligent way) has extinguished the lights of enthusiasm, having darkened by it’s own our altars leaving, them profaned and cold, having eliminated each and every feasable wonder on earth as miracles of religion and magic of the perceivable and non-perceivable fields of creation – in these questioning, doubting, materialistic, disbelieving days of ours, it is of no contadiction if the splendid and picturesque shields, the sacral symbols, the colours of the Middle Ages in no way do evoke more curiosity or reverence as ordinary ornaments meaning something or nothing. If someone – due to this so called science – has killed though inside himself  the perceptive faculty for the symbolism of centuries, one will cut off himself or an entire people from the chain of this tradition. Finally man or people will end up in an eternal state of materialistic obscuring. He,  will have no more knowledge of his forefathers, and ancestors only to be observed in the museums. He, will gape at the religious arts of his ancestors in the museums even without catching a glimpse of it – just as if they were not of this world. Instead of constructing forth on the creations of the old, “modern man” interrupts, resigns without having a concept.”

Cited according to H. Jennings.
Almost 80 years have passed  since the Völkerschlachtdenkmal has been built. And nobody knows any more the hidden sense behind its façade. But what do 80 years denote in the evolution of humanity.
 It is not sufficient – as we can observe the representatives of our State – just to simply fix a black-red-golden flag to the lapel in order to appear as a patriot – without any spiritual background. A simple flag does not turn out a patriot. And what could this patriotism be helpful for? patriotism just for Germany, excluding all other nations – I mean those of occidental Christianity? Our past has unambiguouly been defined by Christianity. There is no other basis for us. By all means I want to draw attention to the fact that I am not a member of any confession nor that I want to push any of them to the forefront.

The only prospects that we have to conserve this culture that has been given to us and leading it forth to future demands for a pure occidental esoterism. This is the reason why it is not sufficient just to look back into some years or centuries or to look back to them in order to guarantee the permanent progress of mankind’s evolution.

He, who does not know to give account
Of three thousand years
May stay in the dark – unexperienced,
May live from one day to the next day.

The Christian confessions once having been so powerful have reached the end. The faithful individuals in the present prefer to stay away. They – intuitively – object to a new making up their minds by the caste of the old priests now being ignorant. People leaving the Church prove that. Those once so powerful priests of Christianity in the mould of the Middle Ages have missed the boat. Their oponion is: what once has been powerful and fundamental will, also be sufficient in coming days. They just forget that man and mankind does not stagnate. We all long for our questions to be answered. The day has come where simple belief does not do anymore. Men want to become knowledgeable. Only the certainty within ourselves can become the sustaining column, simply believing will no longer work.
 But back to the subject of the Magic Flute.

I saw many performances of the Magic Flute and I must adamit that I failed to ask the significance of this or that action in this opera. To me it even seemed not to be worthy to investigate more precisely into the symbolical garments and the objects being used during the action. I accepted them as given. After having accomplished my part of the book about the Völkerschlachtdenkmal and then listening again to another performance of the Magic Flute in the Opera of Leipzig, I began to brood.

I found a reason in the first act. I saw Tamino appearing on the stage to fight against a winged dragon. He held a crooked stick in his hand and threw it towards the dragon. Then three ladies in green garments appeared. Behind them a disco light flashed and the dragon fell down.

Somehow I did not agree with that. Until this day it never offended me. But I decided during this performance to look after these details. I felt doubts concerning the authenticity of the symbolism. And I continued to follow the performance in a different consciouness as I started. I wanted to prove more precisely what I formerly accepted as something given. Too many contradictions occured in this performance.

The same evening I searched for a book about the Magic Flute in my library. I finally found a reprint of the original edition from 1791. After having opened the first act and read how Tamino was dressed and what object – according to the original version – he had in his hand, it was clear to me what was going on.

The modern interpreters gave a stick to Tamino instead of a bow without arrows. And, from the point of view symbolism, it is something different if one throws a bow or just a crooked stick. But that was not all. The Queen of the Night sometimes appearing from above, as from heaven. Some other time she steps out of a hidden corner, as happened in different performances that I had seen before.

I hastily read the original text during this evening. And my first impression was confirmed: The presentations of the garments in all the symbolism given to them by Mozart, Giseke and Schikaneder were trimmed or transformed in a way that they did no longer deal very much with the original version.

Inward myself I was upset and felt cheated. Why was I and the other audience shown such a misleading symbolism, What was the purpose?

During the next days I got myself literature fitting antiquity. I wanted to know which was the secret symbolism behind a bow without arrows. It was no coincidence – it is certain – that Tamino had a bow but no arrows available. My investigations turned out in a breathtaking way for me. Wisdom opened to me, clearness of symbolism that made me speechless. I conceived what was– hidden behind the symbolism – in addition to the music as expressed by the action, should be shown.

If now I replace the bow by a stick, then such a meaning in addition will be definitely lost.

I asked myself what could have unconsciously crossed the minds of the producers when they took refuge in such absurd requisites. If they did not find a bow in the basic equipment a stick would do. That would not make such a big difference. I asked myself if this was the way the producers were thinking.

Comparable to this was the Queen of the Night. In the original version she appears out of a mountain, not descending from heaven. This is an important difference – or am I wrong?

So I intensively continued my evening lectures and investigations. It was fun for me, and my interest in investigating into the Magic Flute for its symbolism increased immensely. One day finally I reached the point where I clearly saw what kind of mystery was hidden behind each single symbol of the Magic Flute. Most definitely the creators of the Magic Flute put all the symbolic details into a fine harmony. Nothing was left to pure chance, this became my deep conviction.

After having done my puzzle in a corse way, I got insight into former mysteries of antiquity. Due to my investigations, I seriously decided to write this book.

Admittedly I was not able to say anything new about the music of the Magic Flute nor add something to it. I felt certain that I could correct some essential failings of our present time about the symbolism.

When I reported about my investigations in a first lecture given to freemasons, I noticed a great interest for my efforts of their part, so my plan to write this book became even stronger.

But I would want the reader to know one thing: I was never interested in writing an extensive work about the symbolism of the Magic Flute. This would have turned out to be a project of years. The symbolism or the hints I discovered behind them are too manyfold as to describe  with more details in my book.  Apart from this I do not want to present too much to the reader. I do not want to make things too easy. In my opinion nobody will get anything if the author gives answers to all questions. I have the intention to stimulate the will for starting one’s own investigations if interrested. Initiate but no more.

I think that I succeeded in achieving it. At least I hope so.
New Years Eve 2004 – Frank Heinrich


[1] Memorial of Battle of the Nations

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