Torquato Tasso

2017 ◽  
pp. 94-96
Author(s):  
Gerhard Regn
Keyword(s):  
Torquato Tasso

Critical philology and Dante’s Commedia: A couple of thoughts and a few examples

2021 ◽  
pp. 001458582110225
Author(s):  
Paolo Trovato
Keyword(s):  
Textual Criticism ◽  
Torquato Tasso ◽  
Critical Thought ◽  
Textual Editing ◽  
Textual Transmission ◽  
Pietro Aretino

Not only literary students, but also well-known scholars share the idea that the reconstruction of a text is a routine job which leaves little room for creativity. After some 40 years during which I have edited or prepared the edition of works of Machiavelli ( Discorso intorno alla nostra lingua), Pietro Aretino ( Cortegiana) and Torquato Tasso ( Aminta), and 17 years devoted to the textual transmission and the text of Dante’s  Commedia, I think that, except for the first phases of the job, textual editing requires almost constant critical thought and interpretation. I shall present a little series of examples, mostly from Dante’s Commedia, with cases ranging from decisions in the realm of accidentals to rather complicated choices among competing substantial readings and to the risky enterprise of emendation against all the witnesses of the work. While these examples can give an idea of the novelty of some solutions of my forthcoming edition (the introduction and  Inferno will appear in the summer of 2021), in my view, they seem to confirm the opinion of the great classical philologist Giorgio Pasquali, for whom textual criticism isn’t mechanical; it is methodical.

Review: Torquato Tasso a Roma. “Il Mondo Creato.”

1981 ◽  
Vol 15 (1) ◽  
pp. 87-89
Author(s):  
Mauda Bregoli-Russo
Keyword(s):  
Torquato Tasso

Torquato Tasso and his Biographers

1896 ◽  
Vol 42 (179) ◽  
pp. 795-817
Author(s):  
William W. Ireland
Keyword(s):  
Letter Writing ◽  
Torquato Tasso ◽  
To Come ◽  
Papal States ◽  
The Times ◽  
The Brain

While at Belriguardo Tasso wrote a letter to the Cardinal, who directed the Inquisition at Rome complaining that the Inquisitor at Bologna had made too little of his confessions, and that he had granted him absolution rather as to a lunatic than to a heretic. He actually proposed to come to Home to be accused in serious form. and not only did Torquato suspect his friends of denouncing him to the Inquisition, but he also accused them of heretical opinions, perhaps founded on some expressions they had used in familiar conversation. The Duke of Ferrara had, indeed, reason not only to be annoyed, but even to be seriously alarmed, for, though the Inquisitor at Bologna took a sensible view of Tasso's revelations, it was by no means certain that the Inquisition at Borne should look upon the matter in the same light. To a shrewd man who took Tasso's whole conduct into consideration he might seem deranged; but the poet possessed a wonderful power of vivid letter writing, and could make his fancies wear plausible shapes. Then the Duke's own mother was known to have been a favourer of the doctrines of Calvin, and some of the taint of heresy might be supposed to cling to Alfonso himself. He had enemies at Rome, and nothing is more credulous of evil reports than hatred. Perhaps they might favour the accusations in the hope of dispossessing him of his principality and causing it to revert to the Papal States, as was actually done after his death. About the same time Torquato wrote to his friend Gonzaga, “Either I am not only of a melancholy humour, but as it were mad, or I am too cruelly persecuted.” After ten days' stay at Belriguardo Alfonso sent Tasso back to Ferrara to be treated by his own physician. According to the pathology of the times melancholy was owing to humours rising to the brain. To expel these purgatives were the proper remedy. The poet was far from being submissive to treatment, and if the doctors did him no good they could always defend themselves by saying that their patient did not carry out their prescriptions. Tasso was kindly received at the convent of the Franciscans at Ferrara, which he repaid by accusations founded upon his ever-brooding suspicions. At another time he avowed his intention of becoming a brother of the Order.

scholarly journals "Abrevia su hermosura virgen rosa": en torno a un símil de la Soledad primera

Studia Aurea ◽  
2021 ◽  
Vol 15 ◽  
Author(s):  
Jesús Ponce Cárdenas
Keyword(s):  
Torquato Tasso

El presente estudio examina un pasaje de la Soledad primera a la luz de las prácticas de la imitatio. En el análisis del símil de la rosa se identifica el modelo subyacente (una comparación engastada en un soneto laudatorio de Torquato Tasso) así como algunos procedimientos de ocultamiento y potenciación expresiva característicos de la praxis gongorina.

scholarly journals Maß (Moderation, Measure)

2021 ◽  
Vol 1 (2) ◽  
Author(s):  
Jocelyn Holland
Keyword(s):  
Aesthetic Experience ◽  
Nodal Point ◽  
Torquato Tasso ◽  
Societal Norms ◽  
Theatrical Performance ◽  
Wilhelm Meisters Lehrjahre ◽  
Elective Affinities ◽  
Theoretical Question ◽  
Narrative Control

This entry on Maß (moderation, measure) explores a concept that has not received much attention in Goethe scholarship and makes a case for its usefulness and versatility in tracking how Goethe addresses a philosophical issue with a history stretching at least back to Aristotle’s conception of “the golden mean.” It shows how Goethe’s writings respond to numerous issues connected with the concept of moderation, ranging from the problem of self-moderation, when an individual’s own internal calibration comes in conflict with societal norms, to the more theoretical question of how to define the correct standard of measure (Maßstab). The discussion of moderation in Goethe’s work is, to be sure, coupled with its opposite, namely the potentially deadly threat of immoderation and excess, such as one finds in Die Leiden des jungen Werthers (1774; The Sorrows of Young Werther), Wilhelm Meisters Lehrjahre (1795; Wilhelm Meister’s Apprenticeship), and Torquato Tasso (1790). Such potential conflicts, which also raise questions of where to position the standard of measure (Maßstab) of behavior, lead naturally into contexts of scientific experimentation, as in Goethe’s essay “Der Versuch als Vermittler von Objekt und Subjekt” (1792; The Experiment as Mediator of Object and Subject), where such standards take on a different valence from their role in mathematically based natural sciences. In addition, Goethe’s novel, Die Wahlverwandtschaften (1809; Elective Affinities), provides a poetic model where conflicts between individually and socially calibrated notions of measure and moderation play out with major ethical consequences. The entry concludes with a reflection on different kinds of aesthetic experience, each with its particular understanding of Maß: the individual’s appreciation of the sublime, the theatrical performance, and the embodiment of the self through poetic meter. Throughout these examples, the entry will underscore the role of narrative constraints: regardless of whether the medium is prose or poetry, one finds that questions of Maß as moderation in Goethe’s writings are often accompanied by questions of narrative control and excess. The following overview and analysis of Maß in Goethe’s writing will show that this term is a nodal point of ethical, epistemological, and aesthetic concerns.

Renaissance Epics: Ariosto, Tasso, and Spenser

2019 ◽  
pp. 97-135
Author(s):  
Peter Mack
Keyword(s):  
Edmund Spenser ◽  
Faerie Queene ◽  
Torquato Tasso ◽  
Ludovico Ariosto ◽  
Orlando Furioso ◽  
Wide Range ◽  
The Faerie Queene

This chapter takes a look at Orlando Furioso (1516, 1532), Gerusalemme Liberata (1581), and The Faerie Queene (1596), which are the recognized epic masterpieces of their eras. They draw in succession on each other and on a wide range of classical and romance texts, many of them known to the first audiences of these three poems. The chapter investigates the ways in which Ludovico Ariosto, Torquato Tasso, and Edmund Spenser used their predecessors and the different effects they achieved from a shared heritage. It examines the ways in which a series of authors used both their immediate predecessors and their sense of a long tradition of epic writing to create something new. The chapter argues that Ariosto aimed to shock and surprise his audience. Tasso reacted to Ariosto by combining a more serious and unified epic on the lines of the Iliad. Spenser's idea of devoting each book to a hero and a virtue presents a structure which is easier to comprehend than Ariosto's, yet looser and more open to surprises than Tasso's.

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