Gerusalemme conquistata (Italian Edition)

Composition of the Gerusalemme liberata.

Rebound by Hering in full vellum with green morocco spine labels gilt. Vellum over front joint of Volume I splitting, but hinges are sound, small chips to labels, very good. Between the Covers- Rare Books, Inc. XXVI, ; S. Graesse VI, 34 - Die Erstausgabe erschien Crescent City Books Published: Appresso i Fratelli Walther. Felice Le Monnier, Quarter green morocco and marbled papercovered boards, spine gilt in arabesque pattern. A little rubbing at the spine, else near fine. La Gerusalemme Liberata Torquato Tasso Ships with Tracking Number! May not contain Access Codes or Supplements. Buy with confidence, excellent customer service!

Neapel, Vincenzo Manfredi Italian Edition Torquato Tasso La Gerusalemme Liberata [Ed. Ariosto's Synopsis to Each Canto] Antique look with Golden Leaf Printing and embossing with round Spine completely handmade binding extra customization on request like Color Leather, Colored book, special gold leaf printing etc. Reprinted in with the help of original edition published long back []. As these are old books, we processed each page manually and make them readable but in some cases some pages which are blur or missing or black spots. If it is multi volume set, then it is only single volume. We expect that you will understand our compulsion in these books.

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Firma di appartenenza al frontespizio e ad una pagine interna. Circa 5 pagine sono state rafforzate ai bordi con nastro adesivo. Legatura leggermente allentata Owner's name on the title-page and on a page. Some pices of tape at 5 pages. Studio Bibliografico Marini Published: Text in the original Italian.

With decorative engraved title-pages and an engraved frontis piece to vol. In his father died; the following year Lucrezia left Ferrara, and Tasso followed the cardinal to Paris , where he met a fellow poet, the Frenchman Pierre Ronsard. The play reflects in its idealization of court life the ephemeral period of happiness Tasso had enjoyed at Ferrara.

In Tasso completed his masterpiece, the Gerusalemme liberata, on which he had been working since his stay in Ferrara. In this epic poem Tasso narrates the actions of the Christian army led by Godfrey of Bouillon during the last months of the First Crusade, culminating in the conquest of Jerusalem and the Battle of Ascalon. The most prominent of these episodes is the story of the Italian hero Rinaldo, including his rebellion, his love for the Saracen girl Armida, and his repentance and decisive participation in the final battle.

Tasso also added the story of the Italian hero Tancred and his love for the beautiful Saracen Clorinda, whom Tancred unwittingly kills in battle; the secret passion of Erminia, princess of Antioch, for Tancred; and the intervention of supernatural forces in favour of Aladino, the king of Jerusalem.

In composing the Liberata, Tasso tried to establish a balance between the moral aspirations of his times and his own sensuous inspiration, and between the requirements of the formal rules laid down for the epic by Renaissance scholars and the impulse of his own lyrical fantasy. He succeeded in reconciling invention with historical truth by adding the aforementioned romantic and idyllic episodes to the firm groundwork of the principal historical action.

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These episodes contribute much of the lyrical charm that the poem possesses. Back in Ferrara in , he started revising his work in a contradictory mood, in which he felt the urge both to accept the criticism he himself had sought and yet to rebel against this kind of authority. He developed a persecution mania, accompanied by unwarranted scruples about his own religious orthodoxy, and the following years were characterized by sudden departures from Ferrara and by violent crises, the latter culminating in his incarceration in the hospital of Santa Anna —86 by order of the Duke of Ferrara.

During his confinement Tasso wrote a number of philosophical and moral dialogues that, together with his numerous letters, are among the best examples of 16th-century Italian prose. In the first editions of the Gerusalemme liberata and portions of the Rime e prose were published. In July Tasso was released from Santa Anna, thanks to the intervention of Vincenzo Gonzaga, prince of Mantua , who received him at his court. In the Discorsi he tried to justify the new version of his epic according to his modified conception of poetic art. But Tasso fell ill in the following March, was moved to the convent of San Onofrio, and died within a few weeks.

Tasso became a literary subject first in 17th-century Italy and then in 18th- and 19th-century Europe, being finally represented as the man of genius who is misunderstood and persecuted. Fairfax's imprint was a strong and enduring one, and the reception of Tasso in the English-speaking world has been almost entirely through this rose-coloured version. There are few instances in English in which a single translation has taken so many liberties and yet been so influential: Tasso's epic tells the story of the First Crusade, leading to the sacking of Jerusalem in The tale centers around Godfrey's exploits, from the beginning when he is chosen to lead the crusaders "To free Jerusalem from thrall and wrong" I.

• La Gerusalemme Liberata.
• La Gerusalemme Liberata by Tasso, Torquato?
• La vergogna (Italian Edition).
• Torquato Tasso!
• Torquato Tasso - Wikipedia!
• Editions of Jerusalem Delivered by Torquato Tasso!

Despite the fact that god and right are obviously on their side -- they are, after all, liberating Jerusalem from those unworthy Muslims -- the adventure is not a smooth and painless one. There are disagreements and disappointments, and various crusaders go their own ways -- before everyone, of course, triumphantly comes together. Diversions range from infighting among the crusaders to romantic entanglements with various temptresses -- and many of these are among the more entertaining parts of the epic: Occasionally it is forced, with some creative word-twisting and occasional -coining, but Fairfax proceeds vigorously and often lyrically.

He has a poet's ear for language, and even when he can not comfortably twist the Italian into English the verses are often powerful: And with that word close to the walls he starts, Nor fears he arrows, quarries, stones, or darts. Fairfax's command of the language is not first-rate, but he proceeds with astonishing confidence or reckless abandon, some might say , and on the whole the result is impressive and often enthralling.