an his genius essayed a fresh flight. He had long
meditated the composition of a tragedy, and had already written some
scenes. At Mantua in 1586-7 this work took the form of _Torrismondo_. It
cannot be called a great drama, for it belongs to the rigid declamatory
species of Italian tragedy; and Tasso's genius was romantic, idyllic,
elegiac, anything but genuinely tragic. Yet the style is eminent for
nobility and purity. Just as the _Aminta_ showed how unaffected Tasso
could be when writing without preconceived theories of heightened
diction, so the _Torrismondo_ displays an unstrained dignity of simple
dialogue. It testifies to the plasticity of language in the hands of a
master, who deliberately chose and sustained different styles in
different species of poetry, and makes us regret that he should have
formed his epic manner upon so artificial a type. The last chorus of
_Torrismondo_ deserves to be mentioned as a perfect example of Tasso's
melancholy elegiac pathos.
Meanwhile he began to be dissatisfied with the _Gerusalemme_, and in
1588 he resolved upon remodeling his masterpiece. The real vitality of
that poem was, as we have seen, in its romance. But Tasso thought
otherwise. During the fourteen years which elapsed since its completion,
the poet's youthful fervor had been gradually fading out. Inspiration
yielded to criticism; piety succeeded to sentiment and enthusiasm for
art. Therefore, in this later phase of his maturity, with powers
impaired by prolonged sufferings and wretched health, tormented by
religious scruples and vague persistent fear, he determined to eliminate
the romance from the epic, to render its unity of theme more rigorous,
and to concentrate attention upon the serious aspects of the subject.
The result of this plan, pursued through five years of wandering, was
the _Gerusalemme Conquistata_, a poem which the world has willingly let
die, in which the style of the _Gerusalemme Liberata_ is worsened, and
which now serves mainly to establish by comparison the fa
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John Addington Symonds (October 5, 1840 - April 19, 1893) was an English poet and literary critic. He was an early advocate of the validity of male love which included for him pederastic as well as egalitarian relationships, and which he would refer to as lamour de limpossible.