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L?o Delibes (1836-1891) looked to a play of the Italian Renaissance, Torquato Tasso's AMINTA, for narrative material when composing his full-length...

L?o Delibes (1836-1891) looked to a play of the Italian Renaissance, Torquato Tasso's AMINTA, for narrative material when composing his full-length...

Late in the eleventh century the First Crusade culminated in the conquest of Jerusalem by Christian armies. Five centuries later, when Torquato Tasso began to search for a subject worthy of an epic, Jerusalem was governed by a sultan, Europe was in the crisis of religious division, and the Crusades were a nostalgic memory. Tasso turned to the First Crusade both as a subject that would test his poetic ambition and as a reflection on the quandaries of his own time. He sought to create a masterpiece that would deserve comparison with the great epics of the past.Gerusalemme liberata became one of the most widely read and cherished books of the Renaissance. First published in 1581, it was translated into English by Edward Fairfax in 1600. That translation has been the standard, even though Fairfax was only a good, not a great, poet. Fairfax tried to fit Tasso's verse into Spenserian stanzas, adding to and subtracting from the original and often changing Tasso's meaning.Anthony Esolen's new translation captures the delight of Tasso's descriptions, the different voices of its cast of characters, the shadings between glory and tragedy―and it does all this in an English as powerful and clear as Tasso's Italian. Tasso's masterpiece finally emerges as an English masterpiece.

Torquato Tasso, at the age of eighteen, composed his first epic poem, “Rinaldo.” It combines romantic epic — a form popularized by Italian masters like Boiardo and Ariosto — with classical influences from Virgil and Aristotle. Despite Tasso’s youth, his “Rinaldo” was a remarkably original achievement in terms of style, organization and plot. Tasso’s story-telling abilities are clear as he manages to shape an enormous array of characters, geographical backdrops, uncanny events and mysterious devices into an impressively unified narrative. The hero of the poem begins his quest for knighthood spurred on by his own sense of unworthiness in the shadow of Orlando, his world-famous cousin. Rinaldo quickly enters a world of jousts and maidens, love and magic spells, hidden enemies and secret friends, disastrous shipwrecks, enchanted castles and unexpected meetings. Tasso’s work has all the elements of the best of Renaissance tales of noble fortunes gone wrong and righted. Max Wickert’s introduction opens the reader to the literary scene of mid-cinquecento Italy: a complex world of competition, jealousy and innovation. In this world Tasso’s own father Bernardo, a court poet and diplomat, had tried his hand at an enormous epic, “Amadigi,” which met with more prestige than success. Planning to protect his son from the disappointments of a writer’s life, he arranged for him to study law at the University of Padua. The call of the literary life proved too strong, however. While he should have been pursuing his legal studies, Torquato published his “Rinaldo” at Venice in 1562, only two years after his father’s own epic. Introduction, bibliography, glossary, chronology, plot summary, index. 492 pages.

Late in the eleventh century the First Crusade culminated in the conquest of Jerusalem by Christian armies. Five centuries later, when Torquato Tasso began to search for a subject worthy of an epic, Jerusalem was governed by a sultan, Europe was in the crisis of religious division, and the Crusades were a nostalgic memory. Tasso turned to the First Crusade both as a subject that would test his poetic ambition and as a reflection on the quandaries of his own time. He sought to create a masterpiece that would deserve comparison with the great epics of the past.Gerusalemme liberata became one of the most widely read and cherished books of the Renaissance. First published in 1581, it was translated into English by Edward Fairfax in 1600. That translation has been the standard, even though Fairfax was only a good, not a great, poet. Fairfax tried to fit Tasso's verse into Spenserian stanzas, adding to and subtracting from the original and often changing Tasso's meaning.Anthony Esolen's new translation captures the delight of Tasso's descriptions, the different voices of its cast of characters, the shadings between glory and tragedy―and it does all this in an English as powerful and clear as Tasso's Italian. Tasso's masterpiece finally emerges as an English masterpiece.

Excerpt from Elogi di Dante Alighieri, di Angelo Poliziano, di Lodovico Ariosto, e di Torquato Tasso Gi, composti da uno che da vostripm verdi anni ammirò in Voi senno sapere e religione. Degnatevi d'ac cettarli come un testimonio non solo del comune applauso dovuto alle vir tù vostre ma della gratitudine anco ra che da me in particolare esigono le molte vostre beneficenze. Ho la. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.

This is a translation of Torquato Tasso's Rime d'amore, introduced and translated into English verse by Maria Pastore Passaro. It contains and introduction and the Italian text faces the English translation on the opposite page.

Torquato Tasso, at the age of eighteen, composed his first epic poem, “Rinaldo.” It combines romantic epic — a form popularized by Italian masters like Boiardo and Ariosto — with classical influences from Virgil and Aristotle. Despite Tasso’s youth, his “Rinaldo” was a remarkably original achievement in terms of style, organization and plot. Tasso’s story-telling abilities are clear as he manages to shape an enormous array of characters, geographical backdrops, uncanny events and mysterious devices into an impressively unified narrative. The hero of the poem begins his quest for knighthood spurred on by his own sense of unworthiness in the shadow of Orlando, his world-famous cousin. Rinaldo quickly enters a world of jousts and maidens, love and magic spells, hidden enemies and secret friends, disastrous shipwrecks, enchanted castles and unexpected meetings. Tasso’s work has all the elements of the best of Renaissance tales of noble fortunes gone wrong and righted. Max Wickert’s introduction opens the reader to the literary scene of mid-cinquecento Italy: a complex world of competition, jealousy and innovation. In this world Tasso’s own father Bernardo, a court poet and diplomat, had tried his hand at an enormous epic, “Amadigi,” which met with more prestige than success. Planning to protect his son from the disappointments of a writer’s life, he arranged for him to study law at the University of Padua. The call of the literary life proved too strong, however. While he should have been pursuing his legal studies, Torquato published his “Rinaldo” at Venice in 1562, only two years after his father’s own epic. Introduction, bibliography, glossary, chronology, plot summary, index. 492 pages.

This is a translation of Torquato Tasso's Rime d'amore, introduced and translated into English verse by Maria Pastore Passaro. It contains and introduction and the Italian text faces the English translation on the opposite page.