He displayed, indeed, marvelous ingenuity and art in so connecting the two strains of his subject, the stately Virgilian history and the glowing modern romance, that they should contribute to the working of a single plot. Yet he could not succeed in vitalizing the former, whereas the latter will live as long as human interest in poetry endures. No one who has studied the Gerusalemme returns with pleasure to Goffredo, or feels that the piety of the Christian heroes is inspired. He skips canto after canto dealing with the crusade, to dwell upon those lyrical outpourings of love, grief, anguish, vain remorse and injured affection which the supreme poet of sentiment has invented for his heroines; he recognizes the genuine inspiration of Erminia's pastoral idyl, of Armida's sensuous charms, of Clorinda's dying words, of the Siren's song and the music of the magic bird: of all, in fact, which is not pious in the poem.
Tancredi, between Erminia and Clorinda, the one woman adoring him, the other beloved by him—the melancholy graceful modern Tancredi, Tasso's own soul's image—is the veritable hero of the Gerusalemme; and by a curious unintended propriety he disappears from the action before the close, without a word. The force of the poem is spiritualized and concentrated in Clorinda's death, which may be cited as an instance of sublimity in pathos. It is idyllized in the episode of Erminia among the shepherds, and sensualized in the supreme beauty of Armida's garden. Rinaldo is second in importance to Tancredi; and Goffredo, on whom Tasso bestows the blare of his Virgilian trumpet from the first line to the last, is poetically of no importance whatsoever. Argante, Solimano, Tisaferno, excite our interest, and win the sympathy we cannot spare the saintly hero; and in the death of Solimano Tasso's style, for once, verges upon tragic sublimity.
What Tasso aimed at in the Gerusalemme was nobility. This quality had not been prominent in Ariosto's art. If he could attain it, his ambition to rival the Orlando Furioso would be satisfied. One main condition of success Tasso brought to the achievement. His mind itself was eminently noble, incapable of baseness, fixed on fair and worthy objects of contemplation. Yet the personal nobility which distinguished him as a thinker and a man, was not of the heroic type. He had nothing Homeric in his inspiration, nothing of the warrior or the patriot in his nature. His genius, when it pursued its bias, found instinctive utterance in elegy and idyl, in meditative rhetoric and pastoral melody. In order to assume the heroic strain, Tasso had recourse to scholarship, and gave himself up blindly to the guidance of Latin poets. This was consistent with the tendency of the Classical Revival; but since the subject to be dignified by epic style was Christian and mediaeval, a discord between matter and manner amounting almost to insincerity resulted. Some examples will make the meaning of this criticism more apparent. When Goffredo rejects the embassy of Atlete and Argante, he declares his firm intention of delivering Jerusalem in spite of overwhelming perils. The crusaders can but perish:
Noi morirem, ma non morremo inulti. (i. 86.)
This of course is a reminiscence of Dido's last words, and the difference between the two situations creates a disagreeable incongruity. The nod of Jove upon Olympus is translated to express the fiat of the Almighty (xiii. 74); Gabriel is tricked out in the plumes and colors of Mercury (i. 13-15); the very angels sinning round the throne become 'dive sirene' (xiv. 9); the armory of heaven is described in terms which reduce Michael's spear and the arrows of pestilence to ordinary weapons (vii. 81); Hell is filled with harpies, centaurs, hydras, pythons, the com mon lumber of classical Tartarus (iv. 5); the angel sent to cure Goffredo's wound culls dittany on Ida (xi. 72); the heralds, interposing between Tancredi and Argante, hold pacific scepters and have naught of chivalry (vi. 51). It may be said that both Dante before Tasso, and Milton after him, employed similar classical language in dealing with Christian and mediaeval motives. But this will hardly serve as an excuse; for Dante and Milton communicate so intense a conviction of religious earnestness that their Latinisms, even though incongruous, are recognized as the mere clothing of profoundly felt ideas. The sublimity, the seriousness, the spiritual dignity is in their thought, not in its expression; whereas Tasso too frequently leaves us with the certainty that he has sought by ceremonious language to realize more than he could grasp with the imagination. In his council of the powers of hell, for instance, he creates monsters of huge dimensions and statuesque distinctness; but these are neither grotesquely horrible like Dante's, nor are they spirits with incalculable capacity for evil like Milton's.
Stampano alcuni il suol di ferine orme,
E in fronte umana ban chiome d'angui attorte;
E lor s'aggira dietro immensa coda,
Che quasi sferza si ripiega e snoda.
Against this we have to place the dreadful scene of Satan with his angels transformed to snakes (Par. Lost, x. 508-584), and the Dantesque horror of the 'vermo reo che 'l mondo fora' (Inf. xxxiv. 108). Again when Dante cries—
O Sommo Giove,
Che fosti in terra per noi crocifisso!
we feel that the Latin phrase is accidental. The spirit of the poet remains profoundly Christian. Tasso's Jehovah-Jupiter is always 'il Re del Ciel'; and the court of blessed spirits which surrounds his 'gran seggio,' though described with solemn pomp of phrase, cannot be compared with the Mystic Rose of Paradise (ix. 55-60). What Tasso lacks is authenticity of vision; and his heightened style only renders this imaginative poverty, this want of spiritual conviction, more apparent.
His frequent borrowings from Virgil are less unsuccessful when the matter to be illustrated is not of this exalted order. Many similes (vii. 55, vii. 76, viii. 74) have been transplanted with nice propriety. Many descriptions, like that of the approach of night (ii-96), of the nightingale mourning for her young (xii. 90), of the flying dream (xiv. 6), have been translated with exquisite taste. Dido's impassioned apostrophe to Aeneas reappears appropriately upon Armida's lips (xvi. 56). We welcome such culled phrases as the following: