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Jerusalem Delivered

May 13, 2023

Jerusalem Delivered, also known as The Liberation of Jerusalem (Italian: La Gerusalemme liberata [la dʒeruzaˈlɛmme libeˈraːta]; lit. 'The freed Jerusalem'), is an epic poem by the Italian poet Torquato Tasso, first published in 1581, that tells a largely mythified version of the First Crusade in which Christian knights, led by Godfrey of Bouillon, battle Muslims in order to take Jerusalem. Tasso began work on the poem in the mid-1560s. Originally, it bore the title Il Goffredo. It was completed in April, 1575 and that summer the poet read his work to Duke Alfonso of Ferrara and Lucrezia, Duchess of Urbino. A pirate edition of 14 cantos from the poem appeared in Venice in 1580. The first complete editions of Gerusalemme liberata were published in Parma and Ferrara in 1581.[1]

Armida Discovers the Sleeping Rinaldo by Nicolas Poussin (1629). Cupid restrains her from stabbing her enemy.

Tasso's choice of subject matter, an actual historic conflict between Christians and Muslims (albeit with fantastical elements added), had a historical grounding and created compositional implications (the narrative subject matter had a fixed endpoint and could not be endlessly spun out in multiple volumes) that are lacking in other Renaissance epics. Like other works of the period that portray conflicts between Christians and Muslims, this subject matter had a topical resonance to readers of the period when the Ottoman Empire was advancing through Eastern Europe.

The poem was hugely successful, and sections or moments from the story were used in works in other media all over Europe, especially in the period before the French Revolution and the Romantic movement, which provided alternative stories combining love, violence, and an exotic setting.

Rinaldo and Armida in her garden, by François Boucher

The poem is composed of 1,917 stanzas in ottava rima (15,336 hendecasyllabic lines), grouped into twenty cantos of varying length. The work belongs to the Italian Renaissance tradition of the romantic epic poem, and Tasso frequently borrows plot elements and character types directly from Ariosto's Orlando Furioso. Tasso's poem also has elements inspired by the classical epics of Homer and Virgil (especially in those sections of their works that tell of sieges and warfare). One of the most characteristic literary devices in Tasso's poem is the emotional conundrum endured by characters torn between their heart and their duty; the depiction of love at odds with martial valour or honor is a central source of lyrical passion in the poem.

Plot summary

"Erminia" redirects here. For other uses, see Erminia (disambiguation).
 
Clorinda attacks Tancredi, one of a series by Paolo Domenico Finoglia

The poem, which in detail bears almost no resemblance to the actual history or cultural setting of the Crusades(In fact at the start of the poem is said that the crusaders took Costantinople and killed Alexios Komnenos and conquered the sultante of rum), tells of the initial disunity and setbacks of the Christians and their ultimate success in taking Jerusalem in 1099. The main historical leaders of the First Crusade feature, but much of the poem is concerned with romantic sub-plots involving entirely fictional characters, except for Tancredi, who is identified with the historical Tancred, Prince of Galilee. The three main female characters begin as Muslims, have romantic entanglements with Christian knights, and are eventually converted to Christianity. They are all women of action: two of them fight in battles, and the third is a sorceress. There are many magical elements, and the Saracens often act as though they were classical pagans. The most famous episodes, and those most often dramatised and painted, include the following:

Sofronia (in English: Sophronia), a Christian maiden of Jerusalem, accuses herself of a crime in order to avert a general massacre of the Christians by the Muslim king. In an attempt to save her, her lover Olindo accuses himself in turn, and each lover pleads with the authorities in order to save the other. However, it is the arrival and intervention of the warrior-maiden Clorinda which saves them (Canto 2).

Clorinda joins the Muslims, but the Christian knight Tancredi (in English: Tancred) falls in love with her (Canto 3). During a night battle in which she sets the Christian siege tower on fire, she is mistakenly killed by Tancredi, but she converts to Christianity before dying (Canto 12). The character of Clorinda is inspired in part by Virgil's Camilla and by Bradamante in Ariosto; the circumstances of her birth (a Caucasian girl born to African parents) are modeled on the lead character (Chariclea) from the ancient Greek novel by Heliodorus of Emesa. To prevent the crusaders from cutting timber for siege engines, the Muslim sorcerer Ismen protects the forest with enchantments, which defeat the Christian knights, even Tancredi (Canto 13). Eventually, the enchantments are broken by Rinaldo, and the siege engines built (Canto 18).

 
Erminia discovers the wounded Tancred, by Guercino (1619).

Another maiden of the region, the Princess Erminia (or "Hermine") of Antioch, also falls in love with Tancredi and betrays her people to help him, but she grows jealous when she learns that Tancredi loves Clorinda. One night she steals Clorinda's armor and leaves the city, in an attempt to find Tancredi, but she is attacked by Christian soldiers (who mistake her for Clorinda) and she flees into the forest, where she is cared for by a family of shepherds, with an old man who weaves baskets (Cantos 6–7). Later in the poem, we find her again in the company of Armida's ladies, but Erminia abandons her Muslim people and goes over to the Christian side. When Tancredi is dangerously wounded in combat, she heals him, cutting off her hair to bind his wounds (Canto 19).

 
Rinaldo and the wizard of Ascalon, Giovanni Battista Tiepolo

The witch Armida (modeled on Circe in Homer and the witch Alcina in Ariosto's epic) enters the Christian camp asking for their aid; her seductions divide the knights against each other and a group leaves with her, only to be transformed into animals by her magic (Canto 5). Armida comes across the sleeping Rinaldo, the greatest of the Christian knights, and abducts him in her chariot (Canto 14). He has the same name as a Carolingian paladin count who is a character in Ariosto's Orlando Furioso [III, 30]; he is the son of Bertoldo and was the reputed founder of the House of Este. She intends to kill him but she falls in love with him instead and takes him away to a magical island where he becomes infatuated with her and forgets the crusade.

Carlo and Ubaldo, two Christian knights and close companions of Rinaldo, seek out the hidden fortress, brave the dangers that guard it and find Rinaldo and Armida in each other's arms. By giving Rinaldo a mirror of diamond, they force him to see himself in his effeminate and amorous state and to return to the war, leaving Armida heartbroken (Cantos 14–16). Rinaldo is deposited on a shore where he finds a shield and sword, and the "Mago d'Ascalona" ("Wizard of Ascalon") shows him a vision of the future in the shield, including the glories of the House of Este (Tasso drops in several prophecies of the time between 1099 and his own at various points). Rinaldo resolves to pursue the crusade with all his might (Canto 17).

 
Clorinda Rescues Olindo and Sophronia by Eugène Delacroix.

Armida is grief-stricken and raises an army to kill Rinaldo and fight the Christians, but her champions are all defeated. She attempts to commit suicide, but Rinaldo finds her in time and prevents her. Rinaldo then begs her to convert to Christianity, and Armida, her heart softened, consents (Canto 20). (This sequence echoes a similar storyline in Ariosto: the witch Alcina ensnares the knight Ruggiero, but the spell is broken by a magic ring that the good sorceress Melissa brings him; earlier antecedents include Calypso's attempt to keep Odysseus on her island Ogygia and Morgan le Fay taking Ogier the Dane off to a faraway island.)

After the enchantments on the forest are broken, finally the Crusaders breach the walls and take the city, with some Muslims remaining in the Temple Mount. But an Egyptian army is known to be arriving in a few days (Canto 18). When they arrive there is a great battle outside the walls, which the Christians win, completing their quest (Canto 20).

Reception

 
Erminia tends to Tancredi's wounds by Alessandro Turchi, c. 1630

The poem was immensely successful throughout Europe and over the next two centuries various sections were frequently adapted as individual storylines for madrigals, operas, plays, ballets and masquerades. Upon publication, two thousand copies of the book was sold in a day.[2] For the work's immense popularity as a subject for dramatic settings, see "Works based on..." below.

Certain critics of the period however were less enthusiastic, and Tasso came under much criticism for the magical extravagance and narrative confusion of his poem. Before his death, he rewrote the poem virtually from scratch, under a new title (La Gerusalemme Conquistata, or "Jerusalem Conquered"). This revised version, however, has found little favor with either audiences or critics.

In art

Scenes from the poem were often depicted in art, mainly by Italian or French artists in the Baroque period, which began shortly after the poem was published. Most paintings showed the love stories, typically with lovers as the two main figures. Common scenes depicted include several with Rinaldo, some including Armida. These include: Armida sees the sleeping Rinaldo, and draws her sword to kill him, but Cupid restrains her hand; instead she abducts him in her chariot; Carlo and Ubaldo in Armida's garden; the knights find the lovers gazing at each other; Rinaldo abandons her. Also popular were Tancredi baptising the mortally wounded Clorinda and Erminia finding the wounded Tancredi, a moment of high emotion in the poem and perhaps the most often depicted. She is also shown nursing him, cutting off her hair to use as bandages.[3]

Most depictions until the 19th century use vaguely classical costume (at least for the men) and settings; by then Lord Byron, Sir Walter Scott and other romantic writers had begun to replace Tasso as sources of exotic love stories to adapt into other media. Some use more contemporary armour, but attempts at authentic 11th-century decor are not seen. The scenes almost all take place outdoors, in an idealized pastoral landscape, which can occupy much of the composition, as in the 18th-century fresco cycles.

 
Part of the Palazzo Panciatichi scheme, in fresco

Series of works in paint or tapestry decorated some palaces. A set of ten large canvases by Paolo Domenico Finoglia were painted from 1634 on for the Palazzo Acquaviva in Conversano in Apulia, home of the local ruler, where they remain. Scenes from the poem were also depicted in fresco cycles at the Palace of Fontainebleau, by the second School of Fontainebleau in France, by Giovanni Battista Tiepolo in the Villa Valmarana (Lisiera) in the Veneto (c. 1757), and in the bedroom of King Ludwig II of Bavaria at Schloss Hohenschwangau.

Another set of four oil paintings by Tiepolo were painted c. 1742–45 as part of a decorative scheme, including a ceiling and other panels, for a room in a Venetian palace of the Cornaro family, but are now in the Art Institute of Chicago. They show the story of Rinaldo, with three covering his time with Armida.[4] As in many paintings, Rinaldo's companions Carlo and Ubaldo are also shown. Among 18th-century rooms with sets of paintings of the poem that survive intact are two in Florence, at the Palazzo Temple Leader and Palazzo Panciatichi.[5]

The first illustrated edition was in 1590, in Italian, and others followed. A set of 35 etchings by Antonio Tempesta better reflect the actual balance of the poem, also showing the military parts of the story.[6]

 
Rinaldo and Armida meet in the enchanted forest by Giacinto Gimignani

The series of ten large paintings by Finoglio has the following scenes, which may be taken as typical:

  • The Torture of Olindo and Sofronia
  • The encounter of Clorinda and Tancredi
  • The duel between Raimondo di Tolosa and Argante
  • Baptism and death of Clorinda
  • Rinaldo and Armida in the enchanted forest
  • Carlo and Ubaldo urge Rinaldo to fulfill his duty
  • Armida tries to restrain Rinaldo
  • Rinaldo abandons the enchanted Island
  • Erminia discovers the wounded Tancredi
  • Rinaldo, victorious, puts the enemy into flight

Influence in English literature

 
Tancred and Erminia by Nicolas Poussin, 1630s

The fame of Tasso's poem quickly spread throughout the European continent. In England, Sidney, Daniel and Drayton seem to have admired it, and, most importantly, Edmund Spenser described Tasso as an "excellente poete" and made use of elements from Gerusalemme liberata in The Faerie Queene. The description of Redcrosse's vision of the Heavenly Jerusalem in the First Book owes something to Rinaldo's morning vision in Canto 18 of Gerusalemme. In the twelfth canto of Book Two, Spenser's enchantress Acrasia is partly modelled on Tasso's Armida, and the English poet directly imitated two stanzas from the Italian.[7] The portrayal of Satan and the demons in the first two books of Milton's Paradise Lost is also indebted to Tasso's poem.

The first attempt to translate Gerusalemme liberata into English was made by Richard Carew, who published his version of the first five cantos as Godfrey of Bulloigne or the recoverie of Hierusalem in 1594. More significant was the complete rendering by Edward Fairfax which appeared in 1600 and has been acclaimed as one of the finest English verse translations. (There is also an eighteenth-century translation by John Hoole, and there are modern versions by Anthony Esolen and Max Wickert.) Tasso's poem remained popular among educated English readers and was, at least until the end of the 19th century, considered one of the supreme achievements of Western literature. Somewhat eclipsed in the Modernist period, its fame is showing signs of recovering.[8]

It seems to have remained in the curriculum, formal or informal, for girls, in times when it was not taught at boys' schools. The English critic George Saintsbury (1845–1933) recorded that "Every girl from Scott's heroines to my own sisters seem to have been taught Dante and Petrarch and Tasso and even Ariosto, as a matter of course."[9]

Works based on

 
Tancredi Baptizing Clorinda by Domenico Tintoretto, c. 1585

Music and operas

 
Rinaldo about to destroy the tree that controls the enchanted forest by Francesco Maffei, c. 1650–55
 
Armida discovers the sleeping Rinaldo by Anthony van Dyck

Plays

  • Max Turiel. Clorinda Deleste, El Camino del Sol. Partially adapted from Gerusalemme Liberata. ISBN 84-934710-8-9. Ediciones La Sirena 2006.

Paintings

 
Rinaldo Abandons Armida by Charles Errard (c. 1640).
 
Herminia and Vaprino Find the Wounded Tancred by Giovanni Antonio Guardi (1750s).

The numerous paintings inspired by the poem include:[10]

Fiction

  • William Faulkner's short story "Carcassonne" uses imagery from the epic as its central thematic motif.

Film

Citations

  1. ^ Caretti pp.lxv and lxix
  2. ^ Durant, W. and Durant, A. (1989). "The Story of Civilization: Age of Reason Begins," World Library, Inc., USA.
  3. ^ Hall, James, Hall's Dictionary of Subjects and Symbols in Art, pp. 263-4, 296, 1996 (2nd edn.), John Murray, ISBN 0719541476
  4. ^ Art Institute of Chicago database; Christiansen, 134-47
  5. ^ photos and photos
  6. ^ Commons
  7. ^ Compare the "Song of the Rose" in The Faerie Queene, Book 2, Canto 12, Stanzas 74–5 and Gerusalemme liberata Canto 16, Stanzas 14–15
  8. ^ This section: Roberto Weiss, introduction to the Fairfax translation of Jerusalem Delivered (Centaur Classics, 1962)
  9. ^ Dorothy Richardson Jones, "King of Critics": George Saintsbury, 1845-1933, Critic, Journalist, Historian, Professor, p. 5, 1992, University of Michigan Press, ISBN 0472103164, 9780472103164, google books
  10. ^ For a longer list, see the "Appendix" in Max Wickert's The Liberation of Jerusalem (Oxford University Press, 2009)

General sources

  • Gerusalemme liberata ed. Lanfranco Caretti (Mondadori, 1983)
  • Christiansen, Keith, ed., Giambattista Tiepolo, 1696–1770 (exhibition: Venice, Museum of Ca' Rezzonico, from September 5 to December 9, 1996; The Metropolitan Museum of Art, New York, January 24 to April 27, 1997, 1996, Metropolitan Museum of Art, ISBN 0870998129, 9780870998126, google books

External links (translations etc.)

 
Italian Wikisource has original text related to this article:
Gerusalemme liberata
 
Wikimedia Commons has media related to Gerusalemme liberata.
  • Jerusalem Delivered, English translation (The Medieval and Classical Literature Library)
  • Jerusalem Delivered, English translations at Google Books (pdf download)
  • Plot summary, canto by canto, by Michael McGoodwin
  •   Jerusalem Delivered public domain audiobook at LibriVox

May 13, 2023
jerusalem, delivered, also, known, liberation, jerusalem, italian, gerusalemme, liberata, dʒeruzaˈlɛmme, libeˈraːta, freed, jerusalem, epic, poem, italian, poet, torquato, tasso, first, published, 1581, that, tells, largely, mythified, version, first, crusade,. Jerusalem Delivered also known as The Liberation of Jerusalem Italian La Gerusalemme liberata la dʒeruzaˈlɛmme libeˈraːta lit The freed Jerusalem is an epic poem by the Italian poet Torquato Tasso first published in 1581 that tells a largely mythified version of the First Crusade in which Christian knights led by Godfrey of Bouillon battle Muslims in order to take Jerusalem Tasso began work on the poem in the mid 1560s Originally it bore the title Il Goffredo It was completed in April 1575 and that summer the poet read his work to Duke Alfonso of Ferrara and Lucrezia Duchess of Urbino A pirate edition of 14 cantos from the poem appeared in Venice in 1580 The first complete editions of Gerusalemme liberata were published in Parma and Ferrara in 1581 1 Armida Discovers the Sleeping Rinaldo by Nicolas Poussin 1629 Cupid restrains her from stabbing her enemy Tasso s choice of subject matter an actual historic conflict between Christians and Muslims albeit with fantastical elements added had a historical grounding and created compositional implications the narrative subject matter had a fixed endpoint and could not be endlessly spun out in multiple volumes that are lacking in other Renaissance epics Like other works of the period that portray conflicts between Christians and Muslims this subject matter had a topical resonance to readers of the period when the Ottoman Empire was advancing through Eastern Europe The poem was hugely successful and sections or moments from the story were used in works in other media all over Europe especially in the period before the French Revolution and the Romantic movement which provided alternative stories combining love violence and an exotic setting Rinaldo and Armida in her garden by Francois BoucherThe poem is composed of 1 917 stanzas in ottava rima 15 336 hendecasyllabic lines grouped into twenty cantos of varying length The work belongs to the Italian Renaissance tradition of the romantic epic poem and Tasso frequently borrows plot elements and character types directly from Ariosto s Orlando Furioso Tasso s poem also has elements inspired by the classical epics of Homer and Virgil especially in those sections of their works that tell of sieges and warfare One of the most characteristic literary devices in Tasso s poem is the emotional conundrum endured by characters torn between their heart and their duty the depiction of love at odds with martial valour or honor is a central source of lyrical passion in the poem Contents 1 Plot summary 2 Reception 3 In art 4 Influence in English literature 5 Works based on 5 1 Music and operas 5 2 Plays 5 3 Paintings 5 4 Fiction 5 5 Film 6 Citations 7 General sources 8 External links translations etc Plot summary Edit Erminia redirects here For other uses see Erminia disambiguation Clorinda attacks Tancredi one of a series by Paolo Domenico Finoglia The poem which in detail bears almost no resemblance to the actual history or cultural setting of the Crusades In fact at the start of the poem is said that the crusaders took Costantinople and killed Alexios Komnenos and conquered the sultante of rum tells of the initial disunity and setbacks of the Christians and their ultimate success in taking Jerusalem in 1099 The main historical leaders of the First Crusade feature but much of the poem is concerned with romantic sub plots involving entirely fictional characters except for Tancredi who is identified with the historical Tancred Prince of Galilee The three main female characters begin as Muslims have romantic entanglements with Christian knights and are eventually converted to Christianity They are all women of action two of them fight in battles and the third is a sorceress There are many magical elements and the Saracens often act as though they were classical pagans The most famous episodes and those most often dramatised and painted include the following Sofronia in English Sophronia a Christian maiden of Jerusalem accuses herself of a crime in order to avert a general massacre of the Christians by the Muslim king In an attempt to save her her lover Olindo accuses himself in turn and each lover pleads with the authorities in order to save the other However it is the arrival and intervention of the warrior maiden Clorinda which saves them Canto 2 Clorinda joins the Muslims but the Christian knight Tancredi in English Tancred falls in love with her Canto 3 During a night battle in which she sets the Christian siege tower on fire she is mistakenly killed by Tancredi but she converts to Christianity before dying Canto 12 The character of Clorinda is inspired in part by Virgil s Camilla and by Bradamante in Ariosto the circumstances of her birth a Caucasian girl born to African parents are modeled on the lead character Chariclea from the ancient Greek novel by Heliodorus of Emesa To prevent the crusaders from cutting timber for siege engines the Muslim sorcerer Ismen protects the forest with enchantments which defeat the Christian knights even Tancredi Canto 13 Eventually the enchantments are broken by Rinaldo and the siege engines built Canto 18 Erminia discovers the wounded Tancred by Guercino 1619 Another maiden of the region the Princess Erminia or Hermine of Antioch also falls in love with Tancredi and betrays her people to help him but she grows jealous when she learns that Tancredi loves Clorinda One night she steals Clorinda s armor and leaves the city in an attempt to find Tancredi but she is attacked by Christian soldiers who mistake her for Clorinda and she flees into the forest where she is cared for by a family of shepherds with an old man who weaves baskets Cantos 6 7 Later in the poem we find her again in the company of Armida s ladies but Erminia abandons her Muslim people and goes over to the Christian side When Tancredi is dangerously wounded in combat she heals him cutting off her hair to bind his wounds Canto 19 Rinaldo and the wizard of Ascalon Giovanni Battista Tiepolo The witch Armida modeled on Circe in Homer and the witch Alcina in Ariosto s epic enters the Christian camp asking for their aid her seductions divide the knights against each other and a group leaves with her only to be transformed into animals by her magic Canto 5 Armida comes across the sleeping Rinaldo the greatest of the Christian knights and abducts him in her chariot Canto 14 He has the same name as a Carolingian paladin count who is a character in Ariosto s Orlando Furioso III 30 he is the son of Bertoldo and was the reputed founder of the House of Este She intends to kill him but she falls in love with him instead and takes him away to a magical island where he becomes infatuated with her and forgets the crusade Carlo and Ubaldo two Christian knights and close companions of Rinaldo seek out the hidden fortress brave the dangers that guard it and find Rinaldo and Armida in each other s arms By giving Rinaldo a mirror of diamond they force him to see himself in his effeminate and amorous state and to return to the war leaving Armida heartbroken Cantos 14 16 Rinaldo is deposited on a shore where he finds a shield and sword and the Mago d Ascalona Wizard of Ascalon shows him a vision of the future in the shield including the glories of the House of Este Tasso drops in several prophecies of the time between 1099 and his own at various points Rinaldo resolves to pursue the crusade with all his might Canto 17 Clorinda Rescues Olindo and Sophronia by Eugene Delacroix Armida is grief stricken and raises an army to kill Rinaldo and fight the Christians but her champions are all defeated She attempts to commit suicide but Rinaldo finds her in time and prevents her Rinaldo then begs her to convert to Christianity and Armida her heart softened consents Canto 20 This sequence echoes a similar storyline in Ariosto the witch Alcina ensnares the knight Ruggiero but the spell is broken by a magic ring that the good sorceress Melissa brings him earlier antecedents include Calypso s attempt to keep Odysseus on her island Ogygia and Morgan le Fay taking Ogier the Dane off to a faraway island After the enchantments on the forest are broken finally the Crusaders breach the walls and take the city with some Muslims remaining in the Temple Mount But an Egyptian army is known to be arriving in a few days Canto 18 When they arrive there is a great battle outside the walls which the Christians win completing their quest Canto 20 Reception Edit Erminia tends to Tancredi s wounds by Alessandro Turchi c 1630 The poem was immensely successful throughout Europe and over the next two centuries various sections were frequently adapted as individual storylines for madrigals operas plays ballets and masquerades Upon publication two thousand copies of the book was sold in a day 2 For the work s immense popularity as a subject for dramatic settings see Works based on below Certain critics of the period however were less enthusiastic and Tasso came under much criticism for the magical extravagance and narrative confusion of his poem Before his death he rewrote the poem virtually from scratch under a new title La Gerusalemme Conquistata or Jerusalem Conquered This revised version however has found little favor with either audiences or critics In art EditScenes from the poem were often depicted in art mainly by Italian or French artists in the Baroque period which began shortly after the poem was published Most paintings showed the love stories typically with lovers as the two main figures Common scenes depicted include several with Rinaldo some including Armida These include Armida sees the sleeping Rinaldo and draws her sword to kill him but Cupid restrains her hand instead she abducts him in her chariot Carlo and Ubaldo in Armida s garden the knights find the lovers gazing at each other Rinaldo abandons her Also popular were Tancredi baptising the mortally wounded Clorinda and Erminia finding the wounded Tancredi a moment of high emotion in the poem and perhaps the most often depicted She is also shown nursing him cutting off her hair to use as bandages 3 Most depictions until the 19th century use vaguely classical costume at least for the men and settings by then Lord Byron Sir Walter Scott and other romantic writers had begun to replace Tasso as sources of exotic love stories to adapt into other media Some use more contemporary armour but attempts at authentic 11th century decor are not seen The scenes almost all take place outdoors in an idealized pastoral landscape which can occupy much of the composition as in the 18th century fresco cycles Part of the Palazzo Panciatichi scheme in fresco Series of works in paint or tapestry decorated some palaces A set of ten large canvases by Paolo Domenico Finoglia were painted from 1634 on for the Palazzo Acquaviva in Conversano in Apulia home of the local ruler where they remain Scenes from the poem were also depicted in fresco cycles at the Palace of Fontainebleau by the second School of Fontainebleau in France by Giovanni Battista Tiepolo in the Villa Valmarana Lisiera in the Veneto c 1757 and in the bedroom of King Ludwig II of Bavaria at Schloss Hohenschwangau Another set of four oil paintings by Tiepolo were painted c 1742 45 as part of a decorative scheme including a ceiling and other panels for a room in a Venetian palace of the Cornaro family but are now in the Art Institute of Chicago They show the story of Rinaldo with three covering his time with Armida 4 As in many paintings Rinaldo s companions Carlo and Ubaldo are also shown Among 18th century rooms with sets of paintings of the poem that survive intact are two in Florence at the Palazzo Temple Leader and Palazzo Panciatichi 5 The first illustrated edition was in 1590 in Italian and others followed A set of 35 etchings by Antonio Tempesta better reflect the actual balance of the poem also showing the military parts of the story 6 Rinaldo and Armida meet in the enchanted forest by Giacinto Gimignani The series of ten large paintings by Finoglio has the following scenes which may be taken as typical The Torture of Olindo and Sofronia The encounter of Clorinda and Tancredi The duel between Raimondo di Tolosa and Argante Baptism and death of Clorinda Rinaldo and Armida in the enchanted forest Carlo and Ubaldo urge Rinaldo to fulfill his duty Armida tries to restrain Rinaldo Rinaldo abandons the enchanted Island Erminia discovers the wounded Tancredi Rinaldo victorious puts the enemy into flightInfluence in English literature Edit Tancred and Erminia by Nicolas Poussin 1630s The fame of Tasso s poem quickly spread throughout the European continent In England Sidney Daniel and Drayton seem to have admired it and most importantly Edmund Spenser described Tasso as an excellente poete and made use of elements from Gerusalemme liberata in The Faerie Queene The description of Redcrosse s vision of the Heavenly Jerusalem in the First Book owes something to Rinaldo s morning vision in Canto 18 of Gerusalemme In the twelfth canto of Book Two Spenser s enchantress Acrasia is partly modelled on Tasso s Armida and the English poet directly imitated two stanzas from the Italian 7 The portrayal of Satan and the demons in the first two books of Milton s Paradise Lost is also indebted to Tasso s poem The first attempt to translate Gerusalemme liberata into English was made by Richard Carew who published his version of the first five cantos as Godfrey of Bulloigne or the recoverie of Hierusalem in 1594 More significant was the complete rendering by Edward Fairfax which appeared in 1600 and has been acclaimed as one of the finest English verse translations There is also an eighteenth century translation by John Hoole and there are modern versions by Anthony Esolen and Max Wickert Tasso s poem remained popular among educated English readers and was at least until the end of the 19th century considered one of the supreme achievements of Western literature Somewhat eclipsed in the Modernist period its fame is showing signs of recovering 8 It seems to have remained in the curriculum formal or informal for girls in times when it was not taught at boys schools The English critic George Saintsbury 1845 1933 recorded that Every girl from Scott s heroines to my own sisters seem to have been taught Dante and Petrarch and Tasso and even Ariosto as a matter of course 9 Works based on Edit Tancredi Baptizing Clorinda by Domenico Tintoretto c 1585 Music and operas Edit Rinaldo about to destroy the tree that controls the enchanted forest by Francesco Maffei c 1650 55 Armida discovers the sleeping Rinaldo by Anthony van Dyck Madrigals La Gerusalemme Liberata by Giaches de Wert c 1595 Ballet de la Delivrance de Renaud by Pierre Guedron Paris 1617 Combattimento di Tancredi e Clorinda by Claudio Monteverdi 1624 from his eighth book of madrigals Le lagrime d Erminia song cycle by Biagio Marini Parma after 1620 Il Tancredi by Girolamo Giacobbi Bologna before 1629 Erminia sul Giordano by Michelangelo Rossi Rome 1633 Armida by Benedetto Ferrari Venice 1639 music lost Armida by Marco Marazzoli Ferrara 1641 Armide by Jean Baptiste Lully Paris 1686 La Gerusalemme liberata by Carlo Pallavicino Venice 1687 Gli avvenimenti di Erminia e di Clorinda by Carlo Francesco Pollarolo Venice 1693 music lost Amori di Rinaldo con Armida by Teofilo Orgiani Brescia 1697 music lost Tancrede by Andre Campra Paris 1702 Suite d Armide ou Jerusalem Delivree by Philippe II duke of Orleans Fontainebleau 1704 Armida abbandonata by Giovanni Maria Ruggieri Venice 1707 Armida abbandonata by Claudio Monteverdi Venice 1626 only the libretto survives Armida al campo by Giuseppe Boniventi Venice 1708 Armida regina di Damasco by Teofilo Orgiani Verona 1711 music lost Rinaldo by George Frideric Handel London 1711 Armida in Damasco by Giacomo Rampini Venice 1711 Armida abbandonata by Giuseppe Maria Buini Bologna 1716 Armida al campo d Egitto by Antonio Vivaldi Venice 1718 Armida delusa by Giuseppe Maria Buini Venice 1720 Renaud ou la Suite d Armide by Henry Desmarest Paris 1722 Das eroberte Jerusalem oder Armida und Rinaldo by Georg Caspar Schurmann Brunswick 1722 Armida abbandonata by Antonio Bioni Prague 1725 Armida al campo by Antonio Bioni Breslau Wroclaw 1726 Il trionfo di Armida by Tomaso Albinoni Venice 1726 L abbandono di Armida by Antonio Pollarolo Venice 1729 Armida by Ferdinando Bertoni Venice 1747 Armida placata by Luca Antonio Predieri Vienna 1750 La Armida aplacada by Giovanni Battista Mele Madrid 1750 Armida by Carl Heinrich Graun Berlin 1751 The Inchanted Forrest by Francesco Geminiani London 1754 Armida by Tommaso Traetta Vienna 1761 Armida abbandonata by Niccolo Jommelli Naples 1770 Armida by Antonio Salieri Vienna 1771 Armide by Christoph Willibald Gluck Paris 1777 Armida by Josef Myslivecek Milan 1780 Renaud by Antonio Sacchini Paris 1783 Armida by Joseph Haydn 1784 Armida e Rinaldo by Giuseppe Sarti St Petersburg 1786 Tancredi by Gioacchino Rossini Venice Ferrara 1813 based on the play Tancrede by Voltaire 1760 Armida by Gioacchino Rossini Naples 1817 Torquato Tasso by Gaetano Donizetti Rome 1833 Rinaldo by Johannes Brahms 1863 1868 cantata Armida by Antonin Dvorak 1904 Armida by Judith Weir 2005 Plays Edit Max Turiel Clorinda Deleste El Camino del Sol Partially adapted from Gerusalemme Liberata ISBN 84 934710 8 9 Ediciones La Sirena 2006 Paintings Edit Rinaldo Abandons Armida by Charles Errard c 1640 Herminia and Vaprino Find the Wounded Tancred by Giovanni Antonio Guardi 1750s The numerous paintings inspired by the poem include 10 Lorenzo Lippi Rinaldo in the enchanted forest 1647 1650 and other subjects Kunsthistorisches Museum Gemaldegalerie Wien Poussin s illustration to Jerusalem Delivered 1630s Tancred and Erminia c 1630 in at least two versions one in the Hermitage Museum in St Petersburg another in the Barber Institute of Fine Arts Birmingham Theodor Hildebrandt Tancred and Clorinda ca 1830 Robert Seymour Jerusalem Delivered with over 100 figures exhibited at the Royal Academy London 1822 Eugene Delacroix Clorinda Rescues Olindo and Sophronia Francois Boucher Rinaldo and Armida Francesco Hayez Rinaldo and Armida Paolo Finoglio The pictorial series Jerusalem Delivered 1640 Giovanni Battista Tiepolo Rinaldo Enchanted by Armida 1742 45 Art Institute of Chicago and many others Giovanni Battista Tiepolo Rinaldo leaves Armida Villa Valmarana province of Vicenza Domenico Tintoretto Tancred Baptizing Clorinda 1586 1600 Museum of Fine Arts HoustonFiction Edit William Faulkner s short story Carcassonne uses imagery from the epic as its central thematic motif Film Edit The Crusaders a 1918 Italian film The Mighty Crusaders a 1958 Italian filmCitations Edit Caretti pp lxv and lxix Durant W and Durant A 1989 The Story of Civilization Age of Reason Begins World Library Inc USA Hall James Hall s Dictionary of Subjects and Symbols in Art pp 263 4 296 1996 2nd edn John Murray ISBN 0719541476 Art Institute of Chicago database Christiansen 134 47 photos and photos Commons Compare the Song of the Rose in The Faerie Queene Book 2 Canto 12 Stanzas 74 5 and Gerusalemme liberata Canto 16 Stanzas 14 15 This section Roberto Weiss introduction to the Fairfax translation of Jerusalem Delivered Centaur Classics 1962 Dorothy Richardson Jones King of Critics George Saintsbury 1845 1933 Critic Journalist Historian Professor p 5 1992 University of Michigan Press ISBN 0472103164 9780472103164 google books For a longer list see the Appendix in Max Wickert s The Liberation of Jerusalem Oxford University Press 2009 General sources EditGerusalemme liberata ed Lanfranco Caretti Mondadori 1983 Christiansen Keith ed Giambattista Tiepolo 1696 1770 exhibition Venice Museum of Ca Rezzonico from September 5 to December 9 1996 The Metropolitan Museum of Art New York January 24 to April 27 1997 1996 Metropolitan Museum of Art ISBN 0870998129 9780870998126 google booksExternal links translations etc Edit Italian Wikisource has original text related to this article Gerusalemme liberata Wikimedia Commons has media related to Gerusalemme liberata Jerusalem Delivered English translation The Medieval and Classical Literature Library Jerusalem Delivered English translations at Google Books pdf download Plot summary canto by canto by Michael McGoodwin Jerusalem Delivered public domain audiobook at LibriVox Retrieved from https en wikipedia org w index php title Jerusalem Delivered amp oldid 1148523542, wikipedia, wiki, book, books, library,

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