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Potiphar

Potiphar (Hebrew: פּוֹטִיפַר, romanized: Pōṭīp̄ar; possibly derived from pꜣ-di-pꜣ-Rꜥ, meaning "the one whom has given") is a biblical figure appearing in the , depicted as an court official and captain of Pharaoh's guard who purchases the Israelite as a slave following his brothers' betrayal. Under Potiphar's ownership, rises to oversee his entire household due to divine favor and his own diligence, with the blessing Potiphar's possessions for Joseph's sake, except for the food, which Potiphar reserves. The narrative highlights Potiphar's trust in , entrusting him with authority over domestic affairs, reflecting his status as a high-ranking in Pharaoh's . The story escalates when Potiphar's unnamed wife repeatedly attempts to seduce , who refuses her advances, citing his loyalty to Potiphar and the it would represent against . In a pivotal incident, she seizes Joseph's garment as he flees her grasp and falsely accuses him of to the and Potiphar, leading to Joseph's rather than execution, possibly due to Potiphar's position as overseer of the . Scholarly analysis places Potiphar in an ancient Egyptian context, potentially during the period (c. 1650–1550 BCE), with his name and title aligning with Semitic-Egyptian linguistic patterns and administrative roles in the . The term saris applied to him may indicate a or court official overseeing the , adding layers to interpretations of his household dynamics and his wife's behavior. Despite his limited appearances, Potiphar's role underscores themes of providence, integrity, and divine blessing in the narrative, influencing Joseph's path to prominence in .

Biblical Account

Role and Introduction

Potiphar is a prominent figure in the biblical narrative of the , portrayed as a high-ranking official in 's court who acquires as a slave following his brothers' betrayal. In 39:1, he is explicitly identified as "an officer of , the captain of the guard, an ," who purchases from the who had brought him to . This depiction establishes Potiphar as a native of significant status, embedded within the societal norms of where elite officials commonly owned slaves to manage and administrative affairs. The title "captain of the guard" renders the Hebrew phrase sar ha-tabbachim, literally "chief of the slaughterers" or "chief of the butchers," which scholars interpret as denoting the head of Pharaoh's personal security force, bodyguard, or chief responsible for protection, enforcing decrees, and overseeing executions or imprisonments. This role underscores Potiphar's authority in the pharaonic administration, positioning him as a key intermediary between the royal household and broader Egyptian governance during the period suggested by the narrative, potentially during the era (c. 1650–1550 BCE). Within the Joseph cycle spanning chapters 37–50, Potiphar functions as the initial catalyst for Joseph's trials in , introducing the young Hebrew to the complexities of servitude and court life under a powerful patron, thereby setting the foundation for the story's themes of providence and ascent from adversity.

Acquisition and Rise of Joseph

Potiphar, an serving as captain of the guard to , acquired as a slave after the young Israelite was sold by his brothers and transported to by Ishmaelite traders. According to the biblical narrative, Joseph was purchased directly from these traders, with no specific price mentioned in the account. This transaction marked the beginning of Joseph's servitude in Potiphar's household, setting the stage for his eventual administrative prominence in . Under Potiphar's ownership, quickly demonstrated exceptional capability, leading to his rapid elevation within the household. The was with , granting him success in all his endeavors, which Potiphar recognized and rewarded by appointing him as overseer of the entire estate. In this role, managed all of Potiphar's affairs, from daily operations to broader responsibilities, allowing Potiphar to entrust him with complete authority over his possessions. This trust stemmed from Joseph's integrity and efficiency, as he handled tasks with diligence and avoided personal indulgences that might complicate his duties. Joseph's oversight brought divine blessings to Potiphar's , resulting in notable across various assets. The describes how the favor extended to everything under Potiphar's control, including his fields, , and other holdings, leading to increased and abundance. For instance, agricultural yields in the fields flourished, multiplied, and resources grew substantially, all attributed to Joseph's wise management and the accompanying . This period of economic growth highlighted Joseph's transformative impact, turning Potiphar's estate into a model of without Potiphar needing to concern himself with details beyond his own meals.

Encounter with Potiphar's Wife

Potiphar's wife, unnamed in the biblical narrative, took notice of , who had risen to a position of over Potiphar's , and repeatedly urged him to have sexual relations with her. Despite her persistent advances, which occurred day after day, refused to comply or even to be alone with her, maintaining his moral integrity. justified his refusal by highlighting the profound trust Potiphar had placed in him, noting that his master had withheld nothing from him in the household except Potiphar's wife herself, as she belonged to his master. He further emphasized that yielding to her would constitute a grave wickedness and a direct against . On one occasion, while was alone in the house performing his duties, Potiphar's wife seized him by his and demanded once more that he lie with her; fled from her presence, leaving the garment behind in her hand. Distressed by his escape, she immediately called out to the household servants and fabricated an accusation against the "Hebrew" whom her husband had brought into the home, claiming he had mocked them by attempting to assault her sexually; she asserted that she had screamed for help, prompting him to flee and abandon his as of his guilt. Later, when Potiphar returned home, she repeated the same false charge to him, again presenting the cloak as proof that the Hebrew slave had sought to violate her.

Consequences and Imprisonment

Upon hearing the account from his wife that Joseph had attempted to violate her, Potiphar became enraged and seized Joseph, placing him in prison. This reaction, while marked by fury, led to imprisonment rather than the execution typically expected for a slave accused of such an offense against a household superior, suggesting possible underlying doubts about Joseph's guilt or the influence of social and familial pressures on Potiphar's decision. Joseph was confined to the royal , a facility designated for the king's prisoners, which fell under the authority of Potiphar as . This placement maintained Joseph's indirect connection to Potiphar's oversight, highlighting the official's role in the penal system while resolving the immediate through removal rather than lethal . In prison, divine favor continued to accompany Joseph, as the Lord extended kindness to him and granted him success in the eyes of the chief jailer. Consequently, the jailer placed Joseph in charge of all the prisoners, entrusting him with full responsibility, for the Lord caused everything Joseph did to prosper. This pattern of blessing echoed Joseph's prior prosperity under Potiphar's service, demonstrating resilience amid adversity.

Name and Historical Context

Etymology of the Name

The name Potiphar (Hebrew: פּוֹטִיפַר, Potipar) is derived from the ancient theophoric name pꜣ-dj-pꜣ-rꜥ, which translates to "the one given by " or "he whom has given," where pꜣ-dj signifies "given" and rꜥ refers to , the sun god. This construction follows common naming patterns that incorporate divine elements to express devotion or divine favor, a practice prevalent from the onward. The form reflects the Hebrew Bible's adaptation of linguistic elements during the period of the . A variant spelling, Potiphera (Hebrew: פּוֹטִיפֶרַע, Potipera), appears in 41:45 as the name of Joseph's father-in-law, the priest of On. This form likely stems from a similar root, pꜣ-dj-pꜣ-rꜥ or pa-di-pre, meaning "the gift of ," with the additional 'a' possibly indicating a scribal distinction or intentional differentiation between the two figures in the biblical text. Scholars suggest these variants may represent the same underlying name adapted for narrative purposes, highlighting priestly and official roles. While no direct Egyptian attestations of the exact name Potiphar exist in surviving records, parallels appear in New Kingdom (c. 1550–1070 BCE) and later inscriptions, such as the formula pꜣ-dj-[deity] in personal names from the 18th Dynasty and a 21st Dynasty stela bearing Potiphera (c. 1070–945 BCE). These examples, documented in Egyptological name lists, confirm the name's authenticity within theophoric conventions, though the biblical usage predates some of the earliest physical evidences.

Egyptian Parallels and Identity

The biblical description of Potiphar as "" (Hebrew: sar ha-tabbachim) aligns with Egyptian administrative titles from the (circa 2050–1710 BCE), such as "chief of the royal bodyguard" or "overseer of the palace guard," roles that involved securing the 's person, managing royal executions, and supervising state prisons. These positions were held by elite officials who reported directly to the and wielded significant authority over security and justice, as evidenced in inscriptions and administrative papyri from the period, like the Ankhu archive of the 12th Dynasty. Such titles reflect a centralized where high-ranking functionaries balanced duties with household oversight, paralleling Potiphar's dual role as a and estate manager in the narrative. Scholars debate the chronological setting of the , with some placing it in the (ca. 2050–1710 BCE) and others in the Second Intermediate Period (ca. 1780–1550 BCE), particularly during rule in the , when immigrants held prominent administrative posts in . Scholars have explored possible historical counterparts for Potiphar among -period officials, noting the influx of Asiatic elites into Egyptian governance, as seen in scarab seals and inscriptions from () depicting names and titles akin to royal guards or overseers. While no exact match exists, figures like the Aper-el (meaning "servant of " in -Egyptian hybrid nomenclature) from later New Kingdom contexts illustrate how foreign-born individuals could ascend to high office, providing a broader parallel for Potiphar's status as an influential Egyptian with authority over slaves and resources. Egyptian customs of slavery during this era emphasized household-based servitude, where captives from trade or conflict—often Asiatics like Joseph—performed skilled labor rather than solely menial tasks, frequently rising to managerial positions within elite estates. The Brooklyn Papyrus (13th Dynasty, ca. 1800–1700 BCE, reflecting Middle Kingdom practices) documents private ownership of diverse slave groups by officials, including up to 95 individuals in one household, with roles in agriculture, crafting, and administration mirroring Joseph's oversight of Potiphar's fields and home. High officials in the pharaoh's administration, such as those akin to Potiphar, maintained extensive estates supported by these slaves, who could earn manumission or status through competence, as tomb reliefs of viziers like Rekhmire depict enslaved workers integrated into domestic and economic operations. This system underscored the pharaoh's reliance on a network of loyal subordinates for both personal security and resource management, embedding figures like Potiphar within a hierarchical structure that facilitated social mobility for capable servants.

Interpretations in Judaism

Rabbinic Exegesis

In , the examines the encounter between and Potiphar's as a pivotal moment of temptation, with Sotah 36b interpreting the biblical verse "and there was none of the men of the house there within" ( 39:11) to indicate that both Joseph and the wife were alone in the house with intent to commit , yet Joseph ultimately resisted due to and his moral resolve. This discussion underscores Potiphar's absence during the incident, but the biblical text implies leniency in Joseph's punishment (imprisonment rather than execution), possibly reflecting doubt about the accusation. These interpretations portray Potiphar not as a fully deceived figure but as one influenced by his wife's demands while protecting his reputation. A prominent rabbinic explanation for Potiphar's wife's aggressive advances toward lies in portraying Potiphar as impotent or castrated, resolving the narrative tension of why she sought despite being married. In 86:3, the states that Potiphar purchased initially for illicit purposes, but the Holy One, blessed be He, immediately castrated him, interpreting the name "Potiphar" (from the Egyptian for "") as indicative of his condition and explaining the wife's frustration. This view emphasizes divine protection over and frames Potiphar's role as one diminished by celestial intervention, preventing any threat from his master while highlighting themes of providence in Joseph's trials. Rabbinic also draws ethical lessons from Potiphar's profound trust in , who was elevated to oversee his entire , as a model of faithful stewardship rewarded by success under divine favor. 86 elaborates that caused Potiphar to perceive Joseph's integrity so completely that he entrusted him without oversight, illustrating the biblical principle that righteous conduct engenders reliability and blessing in servitude. Conversely, the story serves as a cautionary example of the consequences of , aligning with Jewish legal principles in Deuteronomy 19:16–21 and elaborated in the (e.g., Makkot 2b), where false witnesses face the punishment they intended for the innocent, underscoring the to uphold truth and the severe repercussions—both earthly and divine—for that harms the just.

Midrashic Expansions

In midrashic literature, Potiphar is frequently identified with , the of On mentioned in 41:45 as the father of 's wife , resolving the apparent discrepancy in the biblical text by portraying him as a single figure who undergoes divine punishment for his initial intentions toward . This identification appears in the Babylonian (Sotah 13a), where Potiphar's name change to Poti-Phera is explained as deriving from his ("petuach phara") by the angel as retribution for attempting to use sexually after purchasing him. (ch. 39) further elaborates this by depicting Potiphar as the high-ranking Egyptian officer—specifically Pharaoh's sar ha-tabbachim (chief of the executioners or guard)—who personally acquires at the slave auction from the , emphasizing his role as both enslaver and eventual beneficiary of Joseph's administrative talents. Midrashic narratives extend Potiphar's story beyond his household, portraying his later career with elements of promotion, regret, and ironic involvement in Joseph's ascent. In aggadic expansions, after Joseph's imprisonment on false charges, Potiphar—as —oversees the royal , where he appoints the trusted as his deputy, unknowingly facilitating Joseph's path to power and interpreting Pharaoh's dreams ( 89:3; Tanchuma, 9). This development underscores , as Potiphar's regret over his wife's accusations surfaces subtly; some traditions suggest he suspected her guilt from the outset but prioritized social appearances, leading to his demotion in status yet continued oversight of until the viceroy's release. These accounts highlight Potiphar's transformation from to unwitting instrument in Joseph's rise, culminating in his household's prosperity under Joseph's Egyptian governance. Expansions on —often named Zuleika in later —delve into her motives through familial ties and personal animus, linking her to 's lineage via the adoption of . According to (ch. 38), Potiphar's barren wife raises , the illegitimate daughter born to after her assault by , as her own child, thereby connecting the Egyptian household to family and imbuing her attempts with layered intent: a desire to forge an illicit union with that might symbolically redeem or entwine the lineages. Her actions escalate into after rejection; aggadic tales in ha-Gadol and Sefer ha-Yashar depict her obsession turning to rage, prompting the fabricated accusation not merely from spurned lust but as calculated retribution against Joseph's moral steadfastness, which she views as an affront to her status and the adopted daughter's future prospects. These embellishments portray her as a complex figure driven by unfulfilled maternal instincts and familial grudges, ultimately serving to exalt Joseph's piety.

Depictions in Islam

Quranic Equivalent

In the Quranic narrative of Surah Yusuf (Chapter 12), the counterpart to the biblical Potiphar is an unnamed high-ranking official referred to by the title Al-Aziz, meaning "the mighty one" or "the powerful," a term denoting authority and nobility often applied to senior officials in ancient contexts. This figure first appears in verses 21–22, where Al-Aziz purchases () as a slave from a caravan in and instructs his wife to treat him honorably, stating, "Take good care of him, perhaps he may be useful to us or we may adopt him as a son." Al-Aziz subsequently entrusts with the management of his household affairs, recognizing his integrity and capability as reaches maturity and is granted wisdom by . The story progresses in verses 23–34 to depict the encounter between Yusuf and Al-Aziz's wife, culminating in her false accusation against Yusuf after he rejects her advances. Upon discovering the torn shirt as evidence of Yusuf's innocence, Al-Aziz demonstrates a protective stance toward , declaring to his wife, "This is a case of women's guile—your guile is indeed great," and urging her, "Ask for your sin, for you have done wrong," while advising Yusuf to overlook the matter. This response highlights Al-Aziz's discernment and fairness, averting immediate harm to Yusuf, though the youth is later imprisoned due to the prevailing circumstances. Unlike the biblical account, where the official is explicitly named Potiphar, the Quran employs Al-Aziz solely as a title without personal nomenclature, emphasizing the figure's role as a symbol of worldly authority rather than individual identity. This distinction underscores the Quranic focus on moral lessons and divine providence over historical specifics.

Tafsir and Narrative Details

In classical tafsir literature, such as that of Ibn Kathir, Al-Aziz is portrayed as a prominent Egyptian official, equivalent to the king's chief minister or treasurer, who acquired Yusuf as a slave and integrated him into his household with the intention of deriving benefit from his talents. He explicitly directed his wife to treat Yusuf with honor and generosity, providing him suitable accommodations rather than subjecting him to typical servile conditions, as a means to potentially adopt him or leverage his abilities for the family's advantage. This act of hospitality is interpreted by commentators like Maududi as divinely ordained, setting the stage for Yusuf's moral and intellectual growth within a position of relative privilege. Upon discovering the confrontation—evidenced by Yusuf's torn shirt from the rear, confirming his flight from —Al-Aziz acknowledged Yusuf's yet opted for over severe , suggesting as a resolution to contain the episode without escalating to execution or broader exposure. This intervention is seen as mitigating harsher outcomes, aligning with Yusuf's own plea for confinement to evade further advances, thereby underscoring Al-Aziz's role in tempering justice with . Narrative elaborations in emphasize Al-Aziz's initial benevolence toward as a pivotal element of , transforming a slave's arrival into an opportunity for elevation amid trials. Traditional accounts connected to collections and exegetical traditions name the as Zulaikha, reflecting her persistent desire, while Al-Aziz remains unnamed to focus on his functional role in the unfolding divine plan that ultimately vindicates the righteous. These details collectively illustrate themes of , temptation's perils, and Allah's orchestration of events for moral triumph.

Cultural Representations

In Literature

Potiphar, the Egyptian official who purchases as a slave in the biblical narrative from , has been reimagined in various literary works that expand on his role within the household and his interactions with . These adaptations often reinterpret Potiphar as a figure of and , contrasting his worldly status with Joseph's spiritual journey. In Thomas Mann's tetralogy (1933–1943), Potiphar is portrayed as a pragmatic and high-ranking in Pharaoh's court, whose intrigue with Joseph's talents leads him to elevate the young Hebrew to a position of significant responsibility over his household. Mann depicts Potiphar as admiring Joseph's intelligence and humanism, viewing him as a loyal servant who embodies an earthly parallel to divine favor, though his bureaucratic detachment prevents deeper intervention in domestic conflicts. This characterization underscores Potiphar's utilitarian approach to power and administration, shaped by his own emasculated status from a familial plot. Medieval Persian literature adapts Potiphar's Quranic counterpart, Al-Aziz, in works such as the Story of Yusuf, where he symbolizes worldly power and material success as the affluent Egyptian official who acquires Yusuf as a slave. In Jami's 15th-century Sufi poem Yusuf and Zulaikha, Al-Aziz is presented as a powerful minister whose household becomes the stage for spiritual trials, highlighting the tension between earthly authority and divine will; he ultimately divorces Zulaikha upon Yusuf's exoneration, emphasizing his role as a transient figure of temporal dominance. These narratives use Al-Aziz to explore themes of fate and unrequited desire within the framework of Islamic mysticism. Modern novels like Anita Diamant's The Red Tent () briefly touch on Potiphar's household dynamics from the peripheral perspective of , Joseph's sister, framing it as a site of intrigue and exile that impacts the broader . Through 's recounted memories, the household emerges as a complex space of power imbalances and unspoken tensions, serving to connect Joseph's experiences to the women's oral traditions without centering Potiphar himself.

In Visual Arts and Media

In visual arts, Renaissance depictions of Potiphar often center on the dramatic confrontation involving his wife and Joseph, as seen in van Rijn's workshop production Joseph Accused by Potiphar's Wife (1655), an oil-on-canvas painting measuring 105.7 × 97.8 cm held by the . The composition captures the moment of accusation in Potiphar's opulent household, with Potiphar positioned prominently on the right, clad in rich attire and reacting with evident distress to his wife's vehement gestures toward the fleeing ; this emphasizes themes of , justice, and , with Potiphar's authoritative yet deceived figure symbolizing worldly power's vulnerability. Islamic visual traditions, particularly in miniatures from the 14th to 17th centuries, frequently illustrate scenes from Al-Aziz's (Potiphar's) household in illuminated manuscripts of the and related texts, such as those in the Bustan by Sa'di or Jami's . These works, often attributed to artists in the Timurid or Safavid schools, portray the lavish Egyptian interior with intricate architectural details and vibrant colors to contrast moral virtues—Joseph's steadfast piety against Zulaikha's temptation—while Al-Aziz appears as a dignified, absent or peripheral figure in the episode, underscoring themes of trial, restraint, and eventual redemption in Islamic . In film adaptations, Potiphar is rendered as a stern authority figure in the 1961 Italian-Yugoslav production Joseph and His Brethren (original title: Giuseppe venduto dai fratelli), directed by and Luciano Ricci, where he is portrayed by actor as a calculating official who purchases and elevates him, only to imprison him upon his wife's false claims, reflecting a nuanced view of pragmatic conflicted by domestic . Similarly, in the animated feature Joseph: King of Dreams (2000), a to , Potiphar—voiced by —emerges as a formidable and household overseer who recognizes Joseph's talents and entrusts him with management, but his stern demeanor shifts to outrage during the accusation scene, highlighting motifs of , deception, and in a visual narrative.

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