Another negative factor was that Emanuel Schikaneder, the librettist of Mozart's The Magic Flute, published his own sequel in cooperation with the composer Peter Winter.
Notes and drafts of Goethe give insights in his previous plans and reveal opportunities for a much longer plot; but any reconstruction would be very speculative.
Literary criticism suggests that Goethe continued symbols and other ideas of his Magic Flute II in other works, especially his Faust.
Thomas Mann even described Goethe's Magic Flute as a "small Faust ... where the Homunculus and the son are still one in the luminescent box".
[7] Pamina and Tamino enter the vault and shortly afterwards the Queen of the Night appears to call the guardians up to defend the coffin.
[8] Furthermore, Goethe's Magic Flute II shows numerous motifs of syntheses (like Papagena and Papageno have to use working and activity as well as enjoyment and calm to get children),[9] that seems to suggest a use of both systems, instead of becoming absolutely obsessed by one.
In literary studies is stated that The Magic Flute II was the godfather of Goethe's very deepest symbols.
[16] Euphorion, the son of Faust and Helen, only appears in the third act, also called the Helen-act, which Goethe discussed with Schiller as "peak ... of the whole".
Tassels tremble from his shoulders, ribbons flutter round his chest, In his hand a golden lyre, like a miniature Apollo, He steps happily to the overhanging brink: amazing.