Kuchuk Hanem became a key figure and symbol in Flaubert's Orientalist accounts of the East. 1850–1870) was a famed beauty and Ghawazee dancer of Esna, mentioned in two unrelated accounts of travel to Egypt, the French novelist Gustave Flaubert and the American adventurer George William Curtis. KEYWORDS: lyres, flutes, double flute, tambourines, castanets, cymbals, antique cymbals, crotals, crotali, crotales, clapper, Carthage, Gustave Flaubert, Salammbô, Hector Berlioz, Les Troyens, Pierre Louÿs, Aphrodite, Claude Debussy, Prélude à “l’après-midi d’un faune”, Les Chansons de Bilitis, Edgar Allan Poe, La Chute de la maison d’Usher, Théophile Gautier, Une nuit de Cléopâtre, Cleopatra, Saint-Saëns, castagnettes de fer, priestesses of Dagon, Samson and Delilah, Samson et Dalila, Gounod, Sapho, L’Enfance du Christ, Herodias, Richard Strauss, Josephslegende, Salome, Roméo et Juliette, castagnettes de bois - et de fer, tavolette, Respighi’s, Feste Romane, Pompeii, Herculaneum, tintinnabula, Isis, sistrum, sistra, tympanum, sambuke, dulcimer, trigon, Le Roman de la momie, Walter Pater, Marius the Epicurean, Æolian harp, Aeolian harp, Georges Kastner, Pierre Loti, Madame Chrysanthème, Verdi, Aïda, Grand traité de l’instrumentation et d’orchestration modernes, darabuka, tarabuka, dumbek, dumbelik, Bizet, L’Arlésienne, Lakmé, Ibert, darboukka, Suite symphonique, Felicien David, Le Désert, Jerusalem, Meyerbeer’s, Le Prophète, Halévy, Le Juif errant, Auber, Le Dieu et la Bayadère, E.

(2000), Musical Instruments Evocative of the Ancient Orient. Later in the century, a similarity may also be demonstrated between the instruments mentioned in Pierre Louÿs’ Aphrodite and the delicate sound world which Claude Debussy strove to evoke in his compositions, including the Prélude à “l’après-midi d’un faune” and Les Chansons de Bilitis, the latter consisting of musical interludes inserted into a sequence of prose poems by Louÿs. Gustave Flaubert’s Salammbô and Hector Berlioz’s epic opera Les Troyens, works that are exactly contemporaneous, provide one example of this aesthetic parallel. Nineteenth-century literature, especially French “exotic” literature, contains many helpful references to the sorts of instruments and sounds that composers of the period were trying to reintroduce or re-create in their own works in the “Ancient Oriental” genre.

Flaubert in egypt