text:
Twelve Tribes of Israel
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Map of the Twelve Tribes of Israel
According to the Hebrew Bible, the Twelve Tribes of Israel or Tribes of Israel (Hebrew: שבטי ישראל) were said to have descended from the 12 sons of the patriarch Jacob (who was later named Israel) by two wives, Leah and Rachel, and two concubines, Zilpah and Bilhah.
Contents
[hide]
1 Tribes
2 In Christianity
2.1 Coat of arms
3 See also
4 References
5 External links
Tribes[edit]
Tribes of Israel
The Tribes
Reuben
Simeon
Levi
Judah
Dan
Naphtali
Gad
Asher
Issachar
Zebulun
Joseph
Manasseh
Ephraim
Benjamin
Related topics
Leaders
Israelites
Ten Lost Tribes
Jews
Samaritans
v
t
e
Deuteronomy 33:6–25 and Judges 5:14–18 present parallel listings of the twelve tribes:
Reuben
Simeon
Levi
Judah
Issachar
Zebulun
Dan
Naphtali
Gad
Asher
Joseph (later Ephraim and Manasseh)
Benjamin
Jacob elevated the descendants of Ephraim and Manasseh (the two sons of Joseph and his Egyptian wife Asenath)[1] to the status of full tribes in their own right, replacing the tribe of Joseph.[2]
In the Bible's version of events, the period from the conquest of Canaan under the leadership of Joshua until the formation of the first Kingdom of Israel, passed with the tribes forming a loose confederation, described in the Book of Judges. Modern scholarship has called into question the beginning, middle, and end of this picture[3][4] and the account of the conquest under Joshua has largely been abandoned.[5][6][7] The Bible's depiction of the 'period of the Judges' is widely considered doubtful.[3][8][9] The extent to which a united Kingdom of Israel ever existed is also a matter of ongoing dispute.[10][11][12]
Living in exile in the sixth century BCE, the prophet Ezekiel has a vision for the restoration of Israel[13] which would include "the ideal reallotment of the land to the twelve tribes of Israel".[14]
In Christianity[edit]
In the Christian New Testament, the twelve tribes of Israel are referred to twice in the gospels and twice in the Book of Revelation. In Matthew, paralled by Luke, Jesus anticipates that in the Kingdom of God, his followers will "sit on [twelve] thrones, judging the twelve tribes of Israel".[15][16] In the vision of the writer of the Book of Revelation, 144,000 of all the tribes of the children of Israel were "sealed", 12,000 from each tribe[17] and in his vision of the New or Heavenly Jerusalem, the tribes' names were written on the city gates:
The names of the twelve tribes of the children of Israel: three gates on the east, three gates on the north, three gates on the south, and three gates on the west.[18]
Coat of arms[edit]
Thesouro de Nobreza, 1675
Asher
Benjamin
Dan
Ephraim
Gad
Issachar
Judah
Manasseh
Naphtali
Reuben
Simeon
Zebulun
See also[edit]
Judaism portal
Israelites
Leaders of the tribes of Israel
Ten Lost Tribes
References[edit]
Jump up ^ Genesis 41:50
Jump up ^ Genesis 48:5
^ Jump up to: a b "In any case, it is now widely agreed that the so-called 'patriarchal/ancestral period' is a later 'literary' construct, not a period in the actual history of the ancient world. The same is the case for the ‘exodus’ and the 'wilderness period,' and more and more widely for the 'period of the Judges.'" Paula M. McNutt (1 January 1999). Reconstructing the Society of Ancient Israel. Westminster John Knox Press. p. 42. ISBN 978-0-664-22265-9.
Jump up ^ Alan T. Levenson (16 August 2011). The Making of the Modern Jewish Bible: How Scholars in Germany, Israel, and America Transformed an Ancient Text. Rowman & Littlefield Publishers. p. 202. ISBN 978-1-4422-0518-5.
Jump up ^ "Besides the rejection of the Albrightian ‘conquest' model, the general consensus among OT scholars is that the Book of Joshua has no value in the historical reconstruction. They see the book as an ideological retrojection from a later period — either as early as the reign of Josiah or as late as the Hasmonean period." K. Lawson Younger Jr. (1 October 2004). "Early Israel in Recent Biblical Scholarship". In David W. Baker; Bill T. Arnold. The Face of Old Testament Studies: A Survey of Contemporary Approaches. Baker Academic. p. 200. ISBN 978-0-8010-2871-7.
Jump up ^ "It behooves us to ask, in spite of the fact that the overwhelming consensus of modern scholarship is that Joshua is a pious fiction composed by the deuteronomistic school, how does and how has the Jewish community dealt with these foundational narratives, saturated as they are with acts of violence against others?" Carl S. Ehrlich (1999). "Joshua, Judaism and Genocide". Jewish Studies at the Turn of the Twentieth Century, Volume 1: Biblical, Rabbinical, and Medieval Studies. BRILL. p. 117. ISBN 90-04-11554-4.
Jump up ^ "Recent decades, for example, have seen a remarkable reevaluation of evidence concerning the conquest of the land of Canaan by Joshua. As more sites have been excavated, there has been a growing consensus that the main story of Joshua, that of a speedy and complete conquest (e.g. Josh. 11.23: 'Thus Joshua conquered the whole country, just as the LORD had promised Moses') is contradicted by the archaeological record, though there are indications of some destruction and conquest at the appropriate time. Adele Berlin; Marc Zvi Brettler (17 October 2014). The Jewish Study Bible (Second ed.). Oxford University Press. p. 951. ISBN 978-0-19-939387-9.
Jump up ^ "The biblical text does not shed light on the history of the highlands in the early Iron I. The conquest and part of the period of the judges narratives should be seen, first and foremost, as a Deuteronomist construct that used myths, tales, and etiological traditions in order to convey the theology and territorial ideology of the late monarchic author(s) (e.g., Nelson 1981; Van Seters 1990; Finkelstein and Silberman 2001, 72-79, Römer 2007, 83-90)." Israel Finkelstein (2013). The Forgotten Kingdom: The Archaeology and History of Northern Israel (PDF). Society of Biblical Literature. p. 24. ISBN 978-1-58983-912-0.
Jump up ^ "In short, the so-called ‘period of the judges’ was probably the creation of a person or persons known as the deuteronomistic historian." J. Clinton McCann (2002). Judges. Westminster John Knox Press. p. 5. ISBN 978-0-8042-3107-7.
Jump up ^ "Although most scholars accept the historicity of the united monarchy (although not in the scale and form described in the Bible; see Dever 1996; Na'aman 1996; Fritz 1996, and bibliography there), its existence has been questioned by other scholars (see Whitelam 1996b; see also Grabbe 1997, and bibliography there). The scenario described below suggests that some important changes did take place at the time." Avraham Faust (1 April 2016). Israel's Ethnogenesis: Settlement, Interaction, Expansion and Resistance. Routledge. p. 172. ISBN 978-1-134-94215-2.
Jump up ^ "In some sense most scholars today agree on a 'minimalist' point of view in this regard. It does not seem reasonable any longer to claim that the united monarchy ruled over most of Palestine and Syria." Gunnar Lebmann (2003). Andrew G. Vaughn; Ann E. Killebrew, eds. Jerusalem in Bible and Archaeology: The First Temple Period. Society of Biblical Lit. p. 156. ISBN 978-1-58983-066-0.
Jump up ^ "There seems to be a consensus that the power and size of the kingdom of Solomon, if it ever existed, has been hugely exaggerated." Philip R. Davies (18 December 2014). "Why do we Know about Amos?". In Diana Vikander Edelman; Ehud Ben Zvi. The Production of Prophecy: Constructing Prophecy and Prophets in Yehud. Routledge. p. 71. ISBN 978-1-317-49031-9.
Jump up ^ Ezekiel 47:13
Jump up ^ Barnes' Notes on the Bible on Ezekiel 47, accessed 14 October 2016
Jump up ^ Matthew 19:28
Jump up ^ Luke 22:30
Jump up ^ Revelation 7:1-8
Jump up ^ Revelation 21:12-13
External links[edit]
Wikimedia Commons has media related to Twelve Tribes of Israel.
The Twelve Tribes at the Jewish Encyclopedia
The Twelve Tribes of Israel at the Jewish Virtual Library
[hide]
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The Biblical and Historical Israelites
Children of Israel / Twelve Tribes of Israel
Ten Lost Tribes
History of ancient Israel and Judah
Land of Israel
United Monarchy (Kingdom of Israel)
Northern Kingdom
Southern Kingdom (Kingdom of Judah)
Tanakh
Bible
Hebrew Bible
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text:
Erlkönig (Goethe)
From Wikipedia, the free encyclopedia
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This article is about the poem by Goethe. For the German legend this poem is based on, see Erlking. For the novel by Michel Tournier, see The Erl-King (novel).
This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (July 2015) (Learn how and when to remove this template message)
"Erlkönig" illustration, Moritz von Schwind
The Erlking by Albert Sterner, ca. 1910
"Erlkönig" is a poem by Johann Wolfgang von Goethe. It depicts the death of a child assailed by a supernatural being, the Erlkönig, often half-translated as "Erlking", though the eponymous character is clearly some kind of demon or 'fairy king'. It was originally composed by Goethe as part of a 1782 Singspiel entitled Die Fischerin.
"Erlkönig" has been called Goethe's "most famous ballad".[1] The poem has been set to music by several composers, most notably by Franz Schubert.
Contents
[hide]
1 Summary
2 Text
3 The legend
4 Settings to music
4.1 The Franz Schubert composition
4.2 The Carl Loewe composition
5 See also
6 References
7 External links
Summary[edit]
An anxious young boy is being carried at night by his father on horseback. To where is not spelled out; German Hof has a rather broad meaning of "yard", "courtyard", "farm", or (royal) "court". The lack of specificity of the father's social position, beyond owning a horse, allows the reader to imagine the details. The opening line tells that the time is unusually late and the weather unusually inclement for travel. As it becomes apparent that the boy is delirious, a possibility is that the father is rushing him to medical aid.
As the poem unfolds, the son seems to see and hear beings his father does not; the reader cannot know if the father is indeed aware of their presence, but he chooses to comfort his son, asserting reassuringly naturalistic explanations for what the child sees – a wisp of fog, rustling leaves, shimmering willows. Finally, the child shrieks that he has been attacked. The father rides faster to the Hof. There, he recognizes that the boy is dead.
Text[edit]
Literal translation
Edgar Alfred Bowring[2]
Wer reitet so spät durch Nacht und Wind?
Es ist der Vater mit seinem Kind;
Er hat den Knaben wohl in dem Arm,
Er faßt ihn sicher, er hält ihn warm.

"Mein Sohn, was birgst du so bang dein Gesicht?" –
"Siehst, Vater, du den Erlkönig nicht?
Den Erlenkönig mit Kron' und Schweif?" –
"Mein Sohn, es ist ein Nebelstreif."

"Du liebes Kind, komm, geh mit mir!
Gar schöne Spiele spiel' ich mit dir;
Manch' bunte Blumen sind an dem Strand,
Meine Mutter hat manch gülden Gewand." –

"Mein Vater, mein Vater, und hörest du nicht,
Was Erlenkönig mir leise verspricht?" –
"Sei ruhig, bleibe ruhig, mein Kind;
In dürren Blättern säuselt der Wind." –

"Willst, feiner Knabe, du mit mir gehn?
Meine Töchter sollen dich warten schön;
Meine Töchter führen den nächtlichen Reihn,
Und wiegen und tanzen und singen dich ein." –

"Mein Vater, mein Vater, und siehst du nicht dort
Erlkönigs Töchter am düstern Ort?" –
"Mein Sohn, mein Sohn, ich seh' es genau:
Es scheinen die alten Weiden so grau. –"

"Ich liebe dich, mich reizt deine schöne Gestalt;
Und bist du nicht willig, so brauch' ich Gewalt." –
"Mein Vater, mein Vater, jetzt faßt er mich an!
Erlkönig hat mir ein Leids getan!" –

Dem Vater grauset's; er reitet geschwind,
Er hält in Armen das ächzende Kind,
Erreicht den Hof mit Mühe und Not;
In seinen Armen das Kind war tot.
Who rides, so late, through night and wind?
It is the father with his child.
He has the boy well in his arm
He holds him safely, he keeps him warm.

"My son, why do you hide your face in fear?"
"Father, do you not see the Elf-king?
The Elf-king with crown and cape?"
"My son, it's a streak of fog."

"You dear child, come, go with me!
(Very) beautiful games I play with you;
Many colorful flowers are on the beach,
My mother has many a golden robe."

"My father, my father, and do you not hear
What the Elf-king quietly promises me?"
"Be calm, stay calm, my child;
Through dry leaves the wind is sighing."

"Do you, fine boy, want to go with me?
My daughters shall wait on you finely;
My daughters lead the nightly dance,
And rock and dance and sing to bring you in."

"My father, my father, and don't you see there
The Elf-king's daughters in the gloomy place?"
"My son, my son, I see it clearly:
There shimmer the old willows so grey."

"I love you, your beautiful form entices me;
And if you're not willing, then I will use force."
"My father, my father, he's touching me now!
The Elf-king has done me harm!"

It horrifies the father; he swiftly rides on,
He holds the moaning child in his arms,
Reaches the farm with great difficulty;
In his arms, the child was dead.
Who rides there so late through the night dark and drear?
The father it is, with his infant so dear;
He holdeth the boy tightly clasp'd in his arm,
He holdeth him safely, he keepeth him warm.

"My son, wherefore seek'st thou thy face thus to hide?"
"Look, father, the Erl-King is close by our side!
Dost see not the Erl-King, with crown and with train?"
"My son, 'tis the mist rising over the plain."

"Oh, come, thou dear infant! oh come thou with me!
For many a game I will play there with thee;
On my strand, lovely flowers their blossoms unfold,
My mother shall grace thee with garments of gold."

"My father, my father, and dost thou not hear
The words that the Erl-King now breathes in mine ear?"
"Be calm, dearest child, 'tis thy fancy deceives;
'Tis the sad wind that sighs through the withering leaves."

"Wilt go, then, dear infant, wilt go with me there?
My daughters shall tend thee with sisterly care;
My daughters by night their glad festival keep,
They'll dance thee, and rock thee, and sing thee to sleep."

"My father, my father, and dost thou not see,
How the Erl-King his daughters has brought here for me?"
"My darling, my darling, I see it aright,
'Tis the aged grey willows deceiving thy sight."

"I love thee, I'm charm'd by thy beauty, dear boy!
And if thou'rt unwilling, then force I'll employ."
"My father, my father, he seizes me fast,
For sorely the Erl-King has hurt me at last."

The father now gallops, with terror half wild,
He grasps in his arms the poor shuddering child;
He reaches his courtyard with toil and with dread, –
The child in his arms finds he motionless, dead.
The legend[edit]
The story of the Erlkönig derives from the traditional Danish ballad Elveskud: Goethe's poem was inspired by Johann Gottfried Herder's translation of a variant of the ballad (Danmarks gamle Folkeviser 47B, from Peter Syv's 1695 edition) into German as Erlkönigs Tochter ("The Erl-king's Daughter") in his collection of folk songs, Stimmen der Völker in Liedern (published 1778). Goethe's poem then took on a life of its own, inspiring the Romantic concept of the Erlking. Niels Gade's cantata Elverskud op. 30 (1854, text by Chr. K. F. Molbech) was published in translation as Erlkönigs Tochter.
The Erlkönig's nature has been the subject of some debate. The name translates literally from the German as "Alder King" rather than its common English translation, "Elf King" (which would be rendered as Elfenkönig in German). It has often been suggested that Erlkönig is a mistranslation from the original Danish elverkonge, which does mean "king of the elves."
In the original Scandinavian version of the tale, the antagonist was the Erlkönig's daughter rather than the Erlkönig himself; the female elves or Danish elvermøer sought to ensnare human beings to satisfy their desire, jealousy and lust for revenge.
Settings to music[edit]
The poem has often been set to music with Franz Schubert's rendition, his Opus 1 (D. 328), being the best known.[3][4] Other notable settings are by members of Goethe's circle, including the actress Corona Schröter (1782), Andreas Romberg (1793), Johann Friedrich Reichardt (1794) and Carl Friedrich Zelter (1797). Ludwig van Beethoven attempted to set it to music but abandoned the effort; his sketch however was complete enough to be published in a completion by Reinhold Becker (1897). A few other nineteenth-century versions are those by Václav Tomášek (1815), Carl Loewe (1818) and Louis Spohr (1856, with obbligato violin) and Heinrich Wilhelm Ernst (Polyphonic Studies for Solo Violin). 21st century examples are pianist Marc-André Hamelin's "Etude No. 8 (after Goethe)" for solo piano, based on "Erlkönig".[5]
The Franz Schubert composition[edit]
"Erlkönig"
Ernestine Schumann-Heink
Problems playing this file? See media help.
Schubert's autograph of a simplified accompaniment to his "Erlkönig", one of several revisions
Franz Schubert composed his Lied "Erlkönig" for solo voice and piano in 1815, setting text from Goethe's poem. Schubert revised the song three times before publishing his fourth version in 1821 as his Opus 1; it was catalogued by Otto Erich Deutsch as D. 328 in his 1951 catalog of Schubert's works. The song was first performed in concert on 1 December 1820 at a private gathering in Vienna and received its public premiere on 7 March 1821 at Vienna's Theater am Kärntnertor[citation needed].
The four characters in the song – narrator, father, son, and the Erlking – are all sung by a single vocalist. Schubert placed each character largely in a different vocal range, and each has his own rhythmic nuances; in addition, most singers endeavor to use a different vocal coloration for each part.[citation needed]
The Narrator lies in the middle range and begins in the minor mode.
The Father lies in the lower range and sings in both minor and major mode.
The Son lies in a higher range, also in the minor mode.
The Erlking's vocal line, in the major mode, provides the only break from the ostinato bass triplets in the accompaniment until the boy's death.
A fifth character, the horse, is implied in rapid triplet figures played by the pianist throughout the work, mimicking hoof beats.[6]
"Erlkönig" starts with the piano playing rapid triplets to create a sense of urgency and simulate the horse's galloping. The left hand of the piano part introduces a low-register leitmotif composed of successive triplets. The right hand plays triplets throughout the piece until the last three bars. The constant triplets drive the frequent modulations of the piece as it switches between the characters.
Each of the Son's pleas becomes higher in pitch than the last. Near the end of the piece, the music quickens and then slows as the Father spurs his horse to go faster and then arrives at his destination. The absence of the piano creates multiple effects on the text and music. The silence draws attention to the dramatic text and amplifies the immense loss and sorrow caused by the Son's death.
The piece is regarded as extremely challenging to perform due to the multiple characters the vocalist is required to portray, as well as its difficult accompaniment, involving rapidly repeated chords and octaves which contribute to the drama and urgency of the piece.[citation needed]
"Erlkönig" is through-composed; although the melodic motives recur, the harmonic structure is constantly changing and the piece modulates within characters. The rhythm of the piano accompaniment also changes within the characters. The first time the Erlking sings in measure 57, the galloping motive disappears. However, when the Erlking sings again in measure 87, the piano accompaniment plays arpeggios rather than chords.
"Erlkönig" has been transcribed for various settings: for solo piano by Franz Liszt; for solo voice and orchestra by Hector Berlioz; for solo violin by Heinrich Wilhelm Ernst.
The Carl Loewe composition[edit]
Carl Loewe's setting was published as Op. 1, No. 3 and composed in 1817–18, in the lifetime of the poem's author and also of Schubert, whose version Loewe did not then know. Collected with it were Op. 1, No. 1, "Edward" (1818; a translation of the Scottish ballad), and No. 2, "Der Wirthin Töchterlein" (1823; "The Innkeeper's Daughter"), a poem of Ludwig Uhland. Inspired by a German translation of Scottish border ballads, Loewe set several poems with an elvish theme; but although all three of Op. 1 are concerned with untimely death, in this set only the "Erlkönig" has the supernatural element.
Loewe's accompaniment is in semiquaver groups of six in 9/8 time and marked Geschwind (fast). The vocal line evokes the galloping effect by repeated figures of crotchet and quaver, or sometimes three quavers, overlying the binary tremolo of the semiquavers in the piano. In addition to an unusual sense of motion, this creates a flexible template for the stresses in the words to fall correctly within the rhythmic structure.
Loewe's version is less melodic than Schubert's, with an insistent, repetitive harmonic structure between the opening minor key and answering phrases in the major key of the dominant, which have a stark quality owing to their unusual relationship to the home key. The narrator's phrases are echoed by the voices of father and son, the father taking up the deeper, rising phrase, and the son a lightly undulating, answering theme around the dominant fifth. These two themes also evoke the rising and moaning of the wind.[citation needed] The Erl-king, who is always heard pianissimo, does not sing melodies, but instead delivers insubstantial rising arpeggios that outline a single major chord (that of the home key) which sounds simultaneously on the piano in una corda tremolo. Only with his final threatening word, "Gewalt", does he depart from this chord. Loewe's implication is that the Erlking has no substance, but merely exists in the child's feverish imagination. As the piece progresses, the first in the groups of three quavers is dotted to create a breathless pace, which then forms a bass figure in the piano driving through to the final crisis. The last words, war tot, leap from the lower dominant to the sharpened third of the home key; this time not to the major but to a diminished chord, which settles chromatically through the home key in the major and then to the minor.
See also[edit]
List of works based on Der Erlkönig
References[edit]
Jump up ^ Purdy, Daniel (2012). Goethe Yearbook 19. Camden House. p. 4. ISBN 1571135251.
Jump up ^ Johann Wolfgang von Goethe (1853). "The Erl-King". The Poems of Goethe. translated by Edgar Alfred Bowring. p. 99.
Jump up ^ Snyder, Lawrence (1995). German Poetry in Song. Berkeley: Fallen Leaf Press. ISBN 0-914913-32-8. contains a selective list of 14 settings of the poem
Jump up ^ "Wer reitet so spät durch Nacht und Wind?". The LiederNet Archive. Retrieved 8 October 2008. lists 23 settings of the poem
Jump up ^ Hamelin's "Erlkönig" on YouTube
Jump up ^ Machlis, Joseph and Forney, Kristine. "Schubert and the Lied" The Enjoyment of Music: An Introduction to Perceptive Listening. 9th Ed. W. W. Norton & Company: 2003
Moser, Hans Joachim (1937). Das deutsche Lied seit Mozart. Berlin & Zurich: Atlantis Verlag.
Loewe, Carl. Friedlaender, Max; Moser, Hans Joachim, eds. Lieder. Leipzig: Edition Peters.
External links[edit]
Wikisource has original text related to this article:
The Erl-King
German Wikisource has original text related to this article:
Erlkönig
Wikimedia Commons has media related to Erlkönig (Goethe).
Translation by Matthew Lewis
Translation at Poems Found in Translation
Songwriter Josh Ritter performs his translation of the poem, titled "The Oak King" on YouTube
"Erlkönig" at Emily Ezust's Lied and Art Song Texts Page; translation and list of settings
Adaptation by Franz Schubert free recording (mp3) and free score
Schubert's setting of "Erlkönig": Scores at the International Music Score Library Project (IMSLP)
Carl Loewes's 3 Ballads, Op. 1 (No. 3: "Erlkönig"): Scores at the International Music Score Library Project (IMSLP)
Full score and MIDI file of Schubert's setting of "Erlkönig" from the Mutopia Project
Goethe and the Erlkönig Myth
Audio for Earlkings legacy (3:41 minutes, 1.7 MB), performed by Christian Brückner and Bad-Eggz, 2002.
Paul Haverstock reads Goethe's "Erlkönig" with background music. on YouTube
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Retrieved from "https://en.wikipedia.org/w/index.php?title=Erlkönig_(Goethe)&oldid=830902071"
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