Già tal insegna acquistò l'avo, e poi
La portàr molti de'nipoti suoi.
E a questi segni ed al crin raro e bianco
Monstrava esser dagli anni oppresses e stanco.
Fu qui vicin dal saggio Alchiso il Mago,
Di far qualch'opra memorabil vago.
Io son Rinaldo,
Solo di servir voi bramoso e caldo.
The reduplication of epithets, and the occasional use of long sonorous Latin words, which characterize Tasso's later manner, are also noticeable in these couplets. Side by side with such weak endings should be placed some specimens, no less characteristic, of vigorous and noble lines:[70]
Nel cor consiston l'armi,
Onde il forte non e chi mai disarmi.
Si sta placido e cheto,
Ma serba dell'altiero nel mansueto.
If the Rinaldo prefigures Tasso's maturer qualities of style, it is no less conspicuous for the light it throws upon his eminent poetic faculty. Nothing distinguished him more decidedly from the earlier romantic poets than power over pathetic sentiment conveyed in melodious cadences of oratory. This emerges in Clarice's monologue on love and honor, that combat of the soul which forms a main feature of the lyrics in Aminta and of Erminia's episode in the Gerusalemme.[71] This steeps the whole story of Clizia in a delicious melancholy, foreshadowing the death-scene of Clorinda.[72] This rises in the father's lamentation over his slain Ugone, into the music of a threnody that now recalls Euripides and now reminds us of mediaeval litanies.[73] Censure might be passed upon rhetorical conceits and frigid affectations in these characteristic outpourings of pathetic feeling. Yet no one can ignore their liquid melody, their transference of emotion through sound into modulated verse.
That lyrical outcry, finding rhythmic utterance for tender sentiment, which may be recognized as Tasso's chief addition to romantic poetry, pierces like a song through many passages of mere narration. Rinaldo, while carrying Clarice away upon Baiardo, with no chaste intention in his heart, bids her thus dry her tears:[74]
Egli dice: Signora, onde vi viene
Sì spietato martir, sì grave affanno?
Perchè le luci angeliche e serene
Ricopre della doglia oscuro panno?
Forse fia l'util vostro e 'l vostro bene
Quel ch'or vi sembra insupportabil danno,
Deh! per Dio, rasciugate il caldo pianto.
E l'atroce dolor temprate alquanto.
It is not that we do not find similar lyrical interbreathings in the narrative of Ariosto. But Tasso developed the lyrism of the octave stanza into something special, lulling the soul upon gentle waves of rising and falling rhythm, foreshadowing the coming age of music in cadences that are untranslateable except by vocal melody. In like manner, the idyl, which had played a prominent part in Boiardo's and in Ariosto's romance, detaches itself with a peculiar sweetness from the course of Tasso's narrative. This appears in the story of Florindo, which contains within itself the germ of the Aminta, the Pastor Fido and the Adone.[75] Together with the bad taste of the artificial pastoral, its preposterous costume (stanza 13), its luxury of tears (stanza 23), we find the tyranny of kisses (stanzas 28, 52), the yearning after the Golden Age (stanza 29), and all the other apparatus of that operatic species. Tasso was the first poet to bathe Arcady in a golden afternoon light of sensuously sentimental pathos. In his idyllic as in his lyrical interbreathings, melody seems absolutely demanded to interpret and complete the plangent rhythm of his dulcet numbers. Emotion so far predominates over intelligence, so yearns to exhale itself in sound and shun the laws of language, that we find already in Rinaldo Tasso's familiar Non so che continually used to adumbrate sentiments for which plain words are not indefinite enough.
The Rinaldo was a very remarkable production for a young man of eighteen. It showed the poet in possession of his style and displayed the specific faculties of his imagination. Nothing remained for Tasso now but to perfect and develop the type of art which he had there created. Soon after his first settlement in Ferrara, he began to meditate a more ambitious undertaking. His object was to produce the heroic poem for which Italy had long been waiting, and in this way to rival or surpass the fame of Ariosto. Trissino had chosen a national subject for his epic; but the Italia Liberata was an acknowledged failure, and neither the past nor the present conditions of the Italian people offered good material for a serious poem. The heroic enthusiasms of the age were religious. Revived Catholicism had assumed an attitude of defiance. The Company of Jesus was declaring its crusade against heresy and infidelity throughout the world. Not a quarter of a century had elapsed since Charles V. attacked the Mussulman in Tunis; and before a few more years had passed, the victory of Lepanto was to be won by Italian and Spanish navies. Tasso, therefore, obeyed a wise instinct when he made choice of the first crusade for his theme, and of Godfrey of Boulogne for his hero. Having to deal with historical facts, he studied the best authorities in chronicles, ransacked such books of geography and travel as were then accessible, paid attention to topography, and sought to acquire what we now call local coloring for the details of his poem. Without the sacrifice of truth in any important point, he contrived to give unity to the conduct of his narrative, while interweaving a number of fictitious characters and marvelous circumstances with the historical personages and actual events of the crusade. The vital interest of the Gerusalemme Liberata flows from this interpolated material, from the loves of Rinaldo and Tancredi, from the adventures of the Pagan damsels Erminia, Armida and Clorinda. The Gerusalemme is in truth a Virgilian epic, upon which a romantic poem has been engrafted. Goffredo, idealized into statuesque frigidity, repeats the virtues of Aeneas; but the episode of Dido, which enlivens Virgil's hero, is transferred to Rinaldo's part in Tasso's story. The battles of Crusaders and Saracens are tedious copies of the battle in the tenth Aeneid; but the duels of Tancredi with Clorinda and Argante breathe the spirit and the fire of chivalry. The celestial and infernal councils, adopted as machinery, recall the rival factions in Olympus; but the force by which the plot moves is love. Pluto and the angel Gabriel are inactive by comparison with Armida, Erminia and Clorinda. Tasso in truth thought that he was writing a religious and heroic poem. What he did write, was a poem of sentiment and passion—a romance. Like Anacreon he might have cried:
