Measures 1–3: The auxiliary cadence involves three harmonies, but compressed to displace the IV7 above the V. The effect is that of a suspended harmony, although the bass B in m. 1 is arguably an anticipation of its normative time span.
Measures 2–5: The fifth progression in the upper voice is divided between two paired subphrases, in the manner of a free interruption. The double Bassbrechung becomes structural in the repetition in measures 11–5.
Measure 6: This free-standing upbeat measure parallels the curtain in the first bar and effectively sets apart the quotation of spoken text within the poem.