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Bosch, Hieronymus: The Temptation of St Anthony |
c. 1500; Oil o pa el, ryp ych describi g he ordeals of S A ho y; Museu acio al de Ar e A iga, Lisbo Bosch's spiri ual heroes were he sai s who e dured bo h physical a d me al orme , ye remai ed s eadfas . Amo g he sai s, Bosch's favori e was Sai A ho y, he subjec of his rip ych he emp a io of Sai A ho y (c.1500; Museo a io al de Ar e A iga, Lisbo ), which fea ures physical pu ishme o he lef wi g, a Black Mass i he ce er, a d he bla dishme s of food a d sex o he righ wi g. S . A ho y's riumph over such rials is mirrored by hose of o her hermi sai s a d by he Passio of Chris , whose arres a d carryi g of he cross ador he ex erior of he Lisbo al arpiece. Bosch was preoccupied wi h hemes of orme a d he si ful ess of ma , which replaced earlier, more op imis ic visio s of Chris a d he Virgi wi h feeli gs of a xie y, fear, a d guil . His sources for such u usual images were he dark cor ers of he medieval imagi a io , he gargoyles a d mo s ers of ca hedral decora io , a d he margi al illus ra io s of books a d popular pri s. I Bosch's day, emp a io o o ly had he mea i g i has oday, bu also mea physical/me al assaul by demo s. So S A ho y is o o ly emp ed by he pleasures of he flesh a d so o , he is also bea e up a d errorized by he demo s. he ce ral pa el of his rip ych illus ra es he k eeli g figure of S A ho y bei g orme ed by devils. hese i clude a ma wi h a his le for a head, a d a fish ha is half go dola. Bizarre a d si gular as such images seem o us, ma y would have bee familiar o Bosch's co emporaries because hey rela e o Flemish proverbs a d religious ermi ology. Wha is so ex raordi ary is ha hese imagi ary crea ures are pai ed wi h u er co vic io , as hough hey ruly exis ed. He has i ves ed each bizarre or ou la dish crea io wi h he same obvious realism as he a uralis ic a imal a d huma eleme s. His igh marish images seem o possess a i explicable surrealis ic power.
Построение октавы строго логичное. Шестистишие с самого начала эмоционально окрашено (междометие, употребление глаголов в повелительном наклонении). Довольно редкую композиционную схему представляет октава 94-го сонета: 1. They that have pow'r to hurt and will do none, 2. That do not do the thing they most do show, 3. Who, moving others, are themselves as stone, 4. Unmoved, cold and to temptation slow, 5. They rightly do inherit heaven's graces 6. And husband nature's riches from expense; 7. They are the lords and owners of their faces, 8. Others but stewards of their excellence... Октаву образует сложносочиненное предложение с подчинением. В состав его входит сложноподчиненное предложение с сочинением и два простые предложения. В первом из этих составных предложений имеются три придаточных определительных предложения, связанных сочинением и относящихся к подлежащему главного предложения, которое находится в начальной позиции сонета, но потом, после перечисления всех определяющих его придаточных предложений, оно еще раз повторяется перед сказуемым
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