Rus Articles Journal

Rubens, “The hermit and the sleeping Anjelica“. Allegory of a sin? Rubens has

a picture which is called “The hermit and the sleeping Anjelica“.

Somehow according to the name scenes from the medieval poem of Ariosto “Violent Roland“ are remembered at once. It is necessary to tell, as the poem can be called violent: it is so much heroes, characters, any adventures there! Not to count.

And so: one adventure did not end yet - another began. Yet names of heroes did not settle in memory - the heap of new appears. These heroes did not manage to sit down on horses in Europe - as a feather stroke the author sends them where - nibud to India, and it is better than that - to China.

Here that Ariosto writes:

Me lovely Anjelica was remembered: As it from it was started up by

in flight

I in that flight met

of the hermit.

Anjelica arose suddenly, but on the course of the narration it becomes clear that it is pursued (or it seems so to it) by Rinald. It is in love with it to madness, it destroys all on the way, pursuing it. The action takes place in Spain, it runs to France (there is no place to take cover simply closer!). It makes the way to the sea, asking at all and everyone how there to reach.

And here the hermit comes across to it. The old man ignites at the sight of the young beauty. In his head the plan ripens: to entice, persuade, to tempt! He explains something to her, and (oh, artful!) calls to the aid infernal forces. To it the round dance of imps, one of whom the old man persuades to be installed in a horse on whom Anjelica goes, comes. And this demon at first drags a moloditsa in the sea, and then - on the coast, to the place designated by this similarity of a devil.

It proceeds several days. Exhausted by fight against a horse, Anjelica does not seem live any more:

Whether the woman it, live and in fleshes,

Or a stone, colored under the woman.

of Sobbing, tear, reproaches to destiny:

You turned me out of the imperial house, there is no

I to me the way back; You took

my honor, and it is more bitter: there is no

on me a sin,

But each bad will tell:

Ya of a bezdomn, and so, is shameless.
She lists to

all the losses and asks why it remained live why the sea did not become it a grave?

For what else torments

you Protect me in live?

her Ivan Susanin, the hermit appears At this time. He patiently was waiting in the wings when Anjelica comes up on the coast. It represents from itself(himself) humility, and Anjelica of ponemny recovers. She begins to tell it the adventures, and it?

The aged man tells it uteshny words,

Magnificent and kind,

A a povadlivy hand

it will touch a breast, moist cheeks,

A then takes away more safely,

A it carefully is indignant,

the Cam bangs to it in a breast, beats off,

I in the person of it - an honest flush.

the Old man, without hesitation, gets some potion, splashes it in eyes - and she already sleeps before it.

He embraces her, irons thoroughly,

She sleeps and not in forces to oppose;

He kisses it on a mouth, kisses on a breast - them in the secluded place nobody sees


But stumbled its fad,

Was it a body more weakly than desire...

The horseman tries this way and that - Everything not to throw up

to it an idler:

Vainly it tightens a bridle -

That does not vzdymt the dejected head.

At last, flat-out

Near sleepy it falls in a dream...

Not on the cards. Only burned - and got tired. And Anjelica did not suffer an unwanted loss.

We will sum up: the beauty and the old man, the seashore, it just from water, after travel to week. And what we see in a picture? Magnificent pillow. Brightly - a red cover. Gas cape. The old man is really ancient: humpbacked, with hollow cheeks. Moreover, probably, toothless (here, of course, not to do without sleeping pill).

It was swept as if by it hot. And it - in the hermetical uniform with a hood. Well, where with cold blood to such hot beauty?

The plot is rather widespread, in different options it repeats at different artists, and Rubens has several cloths with the same motive. But this case is interesting that the name defines a picture as an episode of a certain composition. And contents does not confirm it!

It does not seem to you that the lulled person cannot sleep so serenely? And in general, the one who just fell asleep does not lie in such stretched pose. Besides after six days in the sea as Anjelica`s hair have to look? The artist represented it so that the viewer does not see a hairdress at all (if does not examine a picture very attentively). The look at first falls on a stomach below, then on a breast, on the head of the girl and her hair. Only after that the aged man begins to be shown. Well, and to make out a demon who confused him it is necessary to look narrowly at the right top corner.

A little strange looks a big pillow under Anjelica. It seems a pillow, and you will look more attentively - reminds a dolphin. Or even rather some monster: whether a tail, whether a mustache at it near at hand and some similarity of an eye (or still something). From - under red blankets under Anjelica some animal with a flat muzzle - not a hippopotamus, not a crocodile looks out. And on what the demon leans? It seems that on a tree trunk. But his hand for some reason lies on a pillow, as if moving it under Anjelica.

That absolutely precisely - neither sand coastal, nor caves. It is possible to assume that it is a sketch, the etude (the size of a cloth of 43õ66 cm). Whether it with “Violent Roland“ is connected? It is rather not, than yes. Possibly, the name “The Hermit and the Sleeping Anjelica“ was given not by Rubens, but collectors through whose hands there passed the picture. And we only need to guess: what did the artist want to show us?

And maybe, Rubens himself gave the name to a picture? (The picture is dated 1626 - year of death of Isabella, the first wife of Rubens. These years Rubens writes Ekaterina Medici`s history, and on his cloths in a large number there are those women whom then will call “rubensovsky“.)

Then his hidden fears are bared: and suddenly with it there will be the same that with the hermit what there will be only a desire, and an opportunity will not be? And the imp in a corner - allegory something indecent, dirty - whether a reminder on sinfulness of senile desires?

If this is so, then and vague figures - the pillow and a cover - look as the warning of ugly consequences of such communication.

And a cloth - clarification from a sin and the prevention to?