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8/18/2019 Moshe Barrasch
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One
_
of
ni.y
earliest encounters
with
art.was when,
as
a young and curi- .
ous child, I was
I e a ~ n g
through
the
pages
of
an old illustrated journal.
There I found a reproduction
of
Rembrandt's etching
of
1654, tepre
senting Tobit, Tobias's farher ( f i g ~ 1). The apocryphal story tells of the
old and blind Tobit whose son went on a long and dangerous journey.
The
fa
ther, preoccupied with thoughts
ab
out death, doubts whether
the son wÜl return from the journey and whether he is sti l alive. When
Anna, Tobit's wife, "espied him [the son) coming," she tells rhe good
news to the blind father. Tobit hastens to the door to meet his son. But
he
is
blind. A.nd Tobit went forth ·toward rhe door, and sturnbled,"
says the Book
ofTobit
(11:11). The Dutch Bible,
as
Julius Held has
noted, is even more explicit. It reads: ''And Tobias went to the door and
hit
himself against it."
1
When I first saw the etching, on rhat early day -
in my life, I did not know the story. Nor had 1 seen a blind person from
nearby, though sorne uncanny stories about blindness had been told to
me. Unprepared, then,
as
I
was,
the
image struck me
so
powerfuily that
I still remember that first encounter. ·
What
was
it in the engraving that
so
struck me? The etching is,
of
course, a moving representation
of
human infirmiry, the manifestation
of
an old man's pitiful weakness .
Yet
rhere was also an additional
dimension to it. Rembrandt's figure d id not appear to me only as that
of
a shaky old man,
for whom
one can feel only sorrow and compas
sion. Though he
was
stumbling, the old man struck me
as
a venerable
. figure; he was surrounded by an aura, and an inherent dignity lifted
jL
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