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Annotations and a glossary clarify the numerous historical, geographical, and mythological references.
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.
Reproduction of the original.
A Study Guide for Torquato Tasso's "Gerusalemme Liberata," excerpted from Gale's acclaimed Epics for Students. This concise study guide includes plot summary; character analysis; author biography; study questions; historical context; suggestions for further reading; and much more. For any literature project, trust Epics for Students for all of your research needs.
Edited collection discusses the first historically important debate on what constitutes modern literature, which focused on two 16th century works: ORLANDO FURIOSO and GERUSALEMME LIBERATA.
'The bitter tragedy of human life— horrors of death, attack, retreat, advance, and the great game of Destiny and Chance. ' In The Liberation of Jerusalem (Gerusalemme liberata, 1581), Torquato Tasso set out to write an epic to rival the Iliad and the Aeneid. Unlike his predecessors, he took his subject not from myth but from history: the Christian capture of Jerusalem during the First Crusade. The siege of the city is played out alongside a magical romance of love and sacrifice, in which the Christian knight Rinaldo succumbs to the charms of the pagan sorceress Armida, and the warrior maiden Clorinda inspires a fatal passion in the Christian Tancred. Tasso's masterpiece left its mark on writers from Spenser and Milton to Goethe and Byron, and inspired countless painters and composers. This is the first English translation in modern times that faithfully reflects both the sense and the verse form of the original. Max Wickert's fine rendering is introduced by Mark Davie, who places Tasso's poem in the context of his life and times and points to the qualities that have ensured its lasting impact on Western culture. ABOUT THE SERIES: For over 100 years Oxford World's Classics has made available the widest range of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, helpful notes to clarify the text, up-to-date bibliographies for further study, and much more.
This book examines how Poussin cultivated a poetics of painting from the literary culture of his own time, and especially through his response to the work of Torquato Tasso. Tasso's poetic discourses were the most important source for Poussin's theory of painting. Poussin does not merely illustrate Tasso's verse, but cultivates pictorial means to refashion the poet's metaphors of desire. Offering new interpretations of these works, this book also investigates Poussin's larger literary culture and how this context illuminates the artist's response to contemporary poetic texts, especially in his mythological paintings.