Magic and music have stood under the rule of the Archetypal Feminine
While the Eternal Feminine in Faust II still appears in personalized form as the Madonna, she works her effects in The Magic Flute as an invisible spiritual power, as music.
But this music is the expression of divine love itself, which unites law and freedom, above and below, in the wisdom of the heart and of love.
As harmony, it grants humankind divine peace and rules the world as the highest divinity.
From the earliest times, magic and music have stood under the rule of the Archetypal Feminine, which in myth and fairy tale is also the mistress of transformation, intoxication, and enchanting sound.
Thus it is quite understandable that it is precisely this feminine principle that bestows the magical instruments.
The Orpheus motif of the magical taming of the animal energies through music belongs to her, for as mistress of the animals the Great Goddess rules the world of wild as well as tame creatures.
She can transform things and people into animal form, tame the animal, and enchant it because, like music, she is able to make the tame wild and the wild tame with the power of her magic.
In contrast to Sarastro’s patriarchally colored imago of her, in which theQueen of the Night simply represents the feminine as thenegative, an essentially positive group of qualities of Queen and Goddess of the Night has asserted itself in both text and action in The Mag!c Flute. ― Erich Neumann, The Fear of the Feminine, Page 157-158
