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Suleika was in a sense a victim of circumstance—she was caught red handed after foolishly, however momentarily, giving in to her desires, and in an attempt to save herself albeit at the expense of Joseph , she quickly fabricated a story. It is clear that Suleika would suffer much ridicule and loss of prestige if the truth were told, as proven a few verses later, so she instead accused Joseph. While they prepare the meal, Joseph enters the room and the women, so distracted by his beauty, all cut themselves.

As in the Western World, however, the story was a common subject of poetry and art. This moment of the story does not portray Suleika negatively. This painting shows Suleika chasing Yussef as he runs from her chambers. In addition to artwork, there are many famous stories and poems based on this story, most notably the Punjabi story by Kashmiri and the Persian poem Yusef and Zalikha by Abul-Mansur Qasim.

One of the most famous retellings is the Persian story Yusuf and Zulaykah by Jami, which perpetuates this concept. Thus, though Eastern and Western traditions may share a parallel story, the character of Suleika has been conveyed very differently in the art and literature of these separate traditions.

As both Goethe and Willemer were married, their love was left unfulfilled; however, the two corresponded for several years. In fact, some of the poems were written by Willemer herself, then edited by Goethe. It can therefore be safely inferred that Suleika is meant to represent Willemer, and Goethe, Hatem.

Thus, simply by renaming this character, Mann already gives her a new dimension unmatched by any preceding Western writer. Mann takes great care to describe her beauty and elegance, as well as her distinguishing facial features. Indeed, seven long years pass before her infamous seduction takes place. During this time, Joseph has risen in status, and the two characters have many encounters. She could no longer help it; she loved him too much.

Knopf, , Furthermore, Mann paints Joseph in an entirely novel light. While Western tradition understands Joseph to have overcome great temptation to serve his God and portrays him as a consummate role model for Christians everywhere, Mann creates a narcissistic and self-serving character. This is entirely evident in his treatment of Mut, for he is aware of her feelings, and despite his ultimate refusal, he certainly allows her to believe that a relationship between the two may be possible. If her affections are not altogether returned, then Joseph is at the very least infatuated with the idea of her infatuation.

In a thousand different forms you may hide yourself, but all the same, my best-beloved, I will recognize you; you may shroud yourself with magic veils but all the same, my ubiquitous one, I will recognize you. As the Buch die Suleika indicates, Suleika herself narrates this poem, which is presumably addressed to Hatem.

Suleika speaks in an assured manner, certain not only of her ability to recognize her lover, but also of her love for Hatem and his for her. Here, Fearn takes for granted that the speaker is male, suggesting that someone other than Suleika presumably Hatem is speaking. Fearn, however, appears inattentive to the fact that Goethe explicitly specified that this poem emanates from Suleika. The strength and conviction of her feelings, as well as the reverence with which she approaches them, surely demonstrates a love more profound than such critics as Mary Cornwallis and Elizabeth Cady Stanton believed her to be capable of.

The song begins not with words, but with a brief instrumental introduction. This section, which lasts only three measures, consists of a P3 statement of the row shared amongst all three clarinets see Example 2. Note that the instrumental parts in the examples are notated at concert pitch; the bass clarinet sounds an octave lower. This is the only time in the entire cycle that the row is not presented clearly by a single voice and it is interesting that Dallapiccola chooses to open the cycle with such a fractured row statement.

Mann, Joseph in Egypt, In a broader sense, however, it may also alert the listener to how this entire cycle is somewhat of a puzzle, concealing, then revealing the true character of Suleika. Example 2. This results in several different vertical harmonies; in particular, the collections , and appear most prominently highlighted in Example 2. These collections all consist exclusively of interval classes 1, 2 and 6 hereafter ic-1s, etc. In setting them up vertically, Dallapiccola in a sense prepares the listener for the sonority of the row, with a special emphasis on these two important intervals.

The remainder of this song can be divided into two principal sections, A and B, each of seven measures and followed by a postlude of three measures. Each contains two lines of poetry, with all but the third line represented by a single row form in the voice. In Section A, the clarinets highlight the interval of the semitone while the voice successively completes an R7 and an RI2 statement, one for each line of text. These rows are stated with virtually no internal repetitions of pitch classes, the only exception occurring at m. As Table 2. Table 2.

These aggregates are partitioned amongst the clarinets to highlight semitones, which frequently appear in dyads see Example 2. These twonote gestures aurally imply a gentle rocking motion. This begins revealing a new dimension of Suleika, and demonstrates that she is capable of love other than a lustful passion. Section B begins at m. This section also spans seven measures, but, unlike Section A, can be easily divided into two subsections.

The first subsection a, m. Subsections a and b are nevertheless related by the use of canonic material. The accompaniment of section a is comprised entirely of canonic statements of the collection , as is the vocal part. Each voice plays three separate motives to form three vertical aggregates. There are not yet elements of questioning or doubt in this first song; rather, it is filled with themes of certainty, positivity, and love.

In Section A, a degree of ambiguity is present as to where each motive begins, for each collection shares one pitch in common with the previous statement see Example 2. Measure 14 thus expresses a moment of clarity and recognition. Furthermore, this strongly suggests that the prime form represents the character of Hatem. Alegant, Brian. Music Theory Spectrum, Vol. Brown, Rosemary. Bridges, George. Germany: Peter Lang, Cone, Edward.

Berkeley: University of California Press, DeLio, Thomas. Ezust, Emily, trans. Fearn, Raymond. The Music of Luigi Dallapiccola. Forte, Allen. The Structure of Atonal Music. Grether Scott, Aurelia. Book of Zuleika from the West-eastern Divan. Oxford Music Online. Cambridge: Cambridge University Press, Mead, Andrew. Metlitzki, Dorothee. Kaltner, John. Collegeville, Minnesota: Liturgical Press, Kraus, Helen. Oxford: Oxford University Press, New York, Camden House, A splendid figure!

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