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Updated: June 22, 2025
In the congenial atmosphere of the court of Ferrara, surrounded by the flower of beauty and chivalry, stimulated by the associations of his master Ariosto, which every object around recalled, and encouraged by the praises of the sweetest lips in the palace, Tasso set himself diligently to the composition of the great work of his life, the Gerusalemme Liberata, the plan of which he had formed before he left the University of Padua.
Our books suggest problems to men for reconstructing some social system in which the calm that belongs to art may be found at last: but such books should not be in your hands; they are not for the innocence and youth of women as yet unchanged by the systems which exist." And the next day you brought me 'l'asso's great poem, the "Gerusalemme Liberata," and said, smiling, "Art in its calm is here."
That is the worst of writing your opinions; and make people agree with you." This speech renewed a slight suspicion in Mrs. Arrowpoint, and again her glance became for a moment examining. But Gwendolen looked very innocent, and continued with a docile air: "I know nothing of Tasso except the Gerusalemme Liberata, which we read and learned by heart at school."
Nothing, for instance, has been said about the pastoral interludes which occupy a not inconspicuous place in the martial cantos both of the Orlando and the Gerusalemme. Before passing on, however, I should like to say a few words concerning one particular department of renaissance literature, and that chiefly by way of illustrating the limitations of the tradition of literary pastoral.
Her poetical works, including her translation into Dutch verse of Tasso's Gerusalemme Liberata, have almost all unfortunately perished, but a single ode that survives "the Ode to a Nightingale" is an effort not unworthy of Shelley and shows her possession of a true lyrical gift. At Muiden the presence of the "beautiful" Tesselschade was almost indispensable.
The poem of Rinaldo will always be read with interest, as it strikes the keynote of Tasso's great epic, the Gerusalemme Liberata, many of the finest fictions of which were adopted with very little modification from the earlier work. His letter asking his father's permission to publish it came at a very inopportune moment.
His eyes ranged also over all the basilicas, Santa Maria Maggiore, San Giovanni in Laterano, the cradle of the papacy, San Paolo-fuori-le-Mura, Santa Croce in Gerusalemme, Sant' Agnese, and the others; they beheld, too, the domes of the Gesu of Sant' Andrea della Valle, San Carlo and San Giovanni dei Fiorentini, and indeed all those four hundred churches of Rome which make the city like a campo santo studded with crosses.
One evening in summer the bookbinder was enjoying the fresh air before his door when a big man with a red nose, past middle age and wearing a scarlet waistcoat stained with grease-spots, appeared, bowing politely and confidentially, and addressed him in a sing-song voice in which even Monsieur Servien could detect an Italian accent: "Sir, I have translated the Gerusalemme Liberata, the immortal masterpiece of Torquato Tasso" and a bulging packet of manuscript under his arm confirmed the statement.
Thereupon the Marquis Tudesco heaved a sigh and exclaimed: "And yet I have translated the Gerusalemme Liberata, the masterpiece of the immortal Torquato Tasso! But the brutal-minded booksellers scorn the fruit of my vigils, and in the empyrean the Muse veils her face so as not to witness the humiliation inflicted on her nursling."
Not until Keats did another English poet appear so filled with the passion for outward shapes of beauty, so exquisitively alive to all impressions of the senses. Spenser was, in some respects, more an Italian than an English poet. It is said that the Venetian gondoliers still sing the stanzas of Tasso's Gerusalemme Liberata.
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