SOCIAL AND DOMESTIC MORALS: PART II

Tales illustrative of Bravi and Banditti—Cecco Bibboni—Ambrogio Tremazzi—Lodovico dall'Armi—Brigandage—Piracy—Plagues—The Plagues of Milan, Venice, Piedmont—Persecution of the Untori—Moral State of the Proletariate—Witchcraft—Its Italian Features—History of Giacomo Centini

CONTENTS OF THE SECOND VOLUME

CHAPTER VII

TORQUATO TASSO

Tasso's Relation to his Age—Balbi on that Period—The Life of Bernardo Tasso—Torquato's Boyhood—Sorrento, Naples, Rome, Urbino—His first Glimpse of the Court—Student Life at Padua and Bologna—The Rinaldo—Dialogues on Epic Poetry—Enters the Service of Cardinal d'Este—The Court of Ferrara—Alfonso II. and the Princesses—Problem of Tasso's Love—Goes to France with Cardinal d'Este—Enters the Service of Duke Alfonso—The Aminta—Tasso at Urbino—Return to Ferrara—Revision of the Gerusalemme—Jealousies at Court—Tasso's Sense of His own Importance—Plans a Change from Ferrara to Florence—First Symptoms of Mental Disorder—Persecutions of the Ferrarese Courtiers—Tasso confined as a Semi-madman—Goes with Duke Alfonso to Belriguardo—Flies in Disguise from Ferrara to Sorrento—Returns to Court Life at Ferrara—Problem of his Madness—Flies again—Mantua, Venice, Urbino, Turin—Returns once more to Ferrara—Alfonso's Third Marriage—Tasso's Discontent—Imprisoned for Seven Years in the Madhouse of S. Anna—Character of Tasso—Character of Duke Alfonso—Nature of the Poet's Malady—His Course of Life in Prison—Released at the Intercession of Vincenzo Gonzaga—Goes to Mantua—The Torrismondo—An Odyssey of Nine Years—Death at Sant Onofrio in Rome—Constantini's Sonnet

CHAPTER VIII

THE "GERUSALEMME LIBERATA"

Problem of Creating Heroic Poetry—The Preface to Tasso's Rinaldo—Subject of Rinaldo—Blending of Romantic Motives with Heroic Style—Imitation of Virgil—Melody and Sentiment—Choice of Theme for the Gerusalemme—It becomes a Romantic Poem after all—Tancredi the real Hero—Nobility of Tone—Virgilian Imitation—Borrowings from Dante—Involved Diction—Employment of Sonorous Polysyllabic Words—Quality of Religious Emotion in this Poem—Rhetoric—Similes—The Grand Style of Pathos—Verbal Music—The Chant d'Amour—Armida—Tasso's Favorite Phrase, Un non so che—His Power over Melody and Tender Feeling—Critique of Tasso's Later Poems—General Survey of his Character