or, The ambivalence of Sarastro
“The culture of Enlightenment […] bears witness to a deep and recurring conflict. The free individual, motivated by reason, and guided by universal ideals, at the same time longs for community, for locality and for the warmth and protection of the tribe. Hence the era which saw the ‘rational’ reforms of the Emperor Joseph II in Austria [recent post, older one], the Revolution in France, the birth of modern democracy in America, and the programmes for universal education, saw too the rise of the Masonic and Rosicrucian Orders, with their closed doors, their mysteries and their rites of passage. Study that sublime masterpiece of Masonic art – The Magic Flute of Mozart – and you will see that the two conflicting impulses of Enlightenment have a common emotional source. The priest Sarastro, who offers freedom, truth, and the community of moral beings, is also an excluder, who offers these universal goods at the end of ordeals, and through mysteries which speak once again of the tribe, its comfort, and its all-enveloping darkness. The marriage of Pamino and Tamina is not a contract but a vow, the subject-matter of an elaborate rite which purges the individual of his wilfulness and subjects him to a moral order beyond the reach of reason. That which the Enlightenment drove from the public world – superstition, ceremony and the rites of the tribe – has been resurrected as a mystery, the exclusive property of the enlightened few. And, in a certain measure, this symbolises the role of high culture in the newly enlightened world.”
Roger Scruton, Modern Culture, Bloomsbury, 1998.