Definition Sm. Spanish (adaptation of arabic mudeggian, pp. of dagian, remain) used in English as sm. And add (pl. mudéjares). Name of the Muslims of Spain remained faithful to Islam in the territories reconquered by Christians; in particular: Mudejar style, the artistic production due to the Muslims who, after the Reconquista, continued to work for Christian principles, perpetuating the Moorish tradition. Art The mudejar style, which often convisse and blended with other (it speaks of Romanesque-mudejar gothic, Mudejar-, etc.) in the multiform framework of Spanish architecture, bloomed in different centers and periods: in Toledo in the XII century, Valladolid, Guadalajara, Seville, Teruel, Zaragoza, Cordova in subsequent, up to the XVI century. In architecture the most representative examples are given from the church of S. Maria la Blanca (1405) in Toledo, from the Alcar (1364-78) and from the Casa de Pilatos (1492-1533) in Seville, as well as from the late-Gothic tiburium of Burgos Cathedral (1568). But it is above all in the field of decorative arts that the Mudejar had an extraordinary flourishing; its characters however are certainly a direct continuation of those Moreschi, whose tradition, though with inserts of gothic and renaissance then, is preserved in some sectors up to now by the passing to popular production. The decoration of the chapel of S. Fernando in the mosque of Cordoba (1258) and those of the Alcázar in Seville are evidence of the more showy of this phenomenon that had, at least initially, his artistic capital in Toledo. The reasons moreschi (stalactites, arabesques, inscriptions cufiche, lozenges) you often mix with the naturalistic flora and animals of the gothic style. Very widespread was the wood carving to adorn the jambs, shelves, stalls, etc., combining with gilding and paints, as well as the use of ceramics for covering walls, hooves and floors (typical of Andalusia a ceramic mosaic said alicatado). The factories of Valencia threw the fashion of the azulejo, Blue on white background, while those of Manises and Malaga became specialists in the production of ceramic alustro. Considerable were finally the production of weapons, the wrought iron, leather, fabrics, embroideries and carpets; the latter an important center of production was Alcaráz (until the XVII century). Physiology The hydrochloric acid has considerable physiological importance as a component of the gastric juice. It is secreted by the parietal cells of the gastric glands in concentrations of the order of 170 mEq/liter, corresponding to 0.3-0.5%. In practice these values vary considerably in relation to the intensity and the nature of the stimuli that reach the mucosa, the rate of gastric emptying, the character of the diet, given the tendency of the hydrochloric acid to react with the alkaline radicals of foods. On the other hand there is in the stomach an intrinsic mechanism for adjusting that blocks the secretion of hydrochloric acid when the acidity of the gastric juice exceeds the limit values. The Cl ions? Are released in the stomach from mucosa cells with an active mechanism against the concentration gradient. H+ ions are supplied in their turn by the dissociation of the carbonic acid That is formed in large quantities in the parietal cells from the reaction between carbon dioxide (CO2) and water (H2O) catalyzed by the enzyme carbonic anhydrase. Loione HCO?3 back into the blood by combining with the sodium circulating. The acid gastric hydrochloric has multiple functions: transforms the pepsinogeno in pepsin, therefore confers to the stomach has a strongly acid pH (1-2) suitable for peptic digestion of proteins and in particular to the hydrolysis of collagen, stimulates pancreatic secretion, softens the raw cellulose, frees the trivalent iron from organic compounds food, allowing its absorption. Of great importance is finally the antiseptic action exerted by the hydrochloric acid on the microorganisms that are pathogenic and non-pathogenic that in large number reach the stomach. Toxicology Gaseous hydrochloric acid is highly toxic for the respiratory system, causing irritation of the bronchial mucosa and pulmonary edema. In concentrated aqueous solution has caustic action. It should be noted that the commercial hydrochloric acid is more toxic than pure because of arsenic and many other impurities contained in it (see hypochlorhydria and ipercloridria). Nitric acid: General information Chemical compound of formula HNO3. The name derives from that of nitro or saltpetre designating the potassium nitrate from which, by the action of the sulfuric acid, was obtained by the alchemists who indicated with the name of etching. The pure nitric acid anhydrous and is a colorless liquid that is exposed to light is colored in yellow for slow decomposition in water, oxygen and nitrogen dioxide; this remains dissolved in the acid, giving it a yellow color more or less load. The nitric acid is miscible with water in all the reports and forms with it an azeotrope that contains the 68.5% nitric acid has a density of 1.42 and constitutes the common nitric acid that is located in the market. In aqueous solution the nitric acid behaves as an acid fortissimo: in a 0.1 M solution is in fact dissociated for 93%. The nitric acid of media concentration or concentrate is a strong oxidant and attaches quickly the metals, except some such as gold, platinum, radio and iridium. For certain metals such as aluminum, iron and nickel etching with nitric acid very concentrated causes the formation of a protective film of oxide that prevents further oxidation; used more diluted non loses its action. Even non-metallic elements, such as sulfur and phosphorous, react with concentrated nitric acid is transformed into the corresponding oxyacids. The proteins in contact with the concentrated nitric acid assume a lively yellow coloring (xantoproteica reaction) because the tyrosine contained therein is transformed into nitroderivatives precisely yellow in color. Nitric acid: preparation methods The nitric acid was prepared until the beginning of the XX century with a method developed in 1776, starting from natural sodium nitrate (Saltpetre of Chile). The first effective industrial attempts to transform the atmospheric nitrogen directly in nitric acid and nitrates date back to the beginning of the XX century, with the application of the method Birkeland-Eyde, said also process the arc. The temperatures of the voltaic arc the nitrogen and the oxygen in the air are combined between them forming nitric oxide NO, which, after being strongly cooled up to room temperature or slightly higher to prevent the dissociation, is then oxidized by atmospheric oxygen with chlorine dioxide or nitrogen dioxide NO2. The latter, put in contact with water, reacts by generating nitric acid and nitrous acid; the nitrous acid decomposes immediately giving other nitric acid and releasing nitrogen oxide. The process is generally represented by the equation: The nitrogen oxide thus freed is oxidized with chlorine dioxide, which reacts again with water and so forth, until complete transformation of the nitrogen oxide in nitric acid. The method Birkeland-Eyde required a very high consumption of electrical energy and therefore, after being applied in countries that had a large availability of hydroelectric energy at low cost as Norway, it was abandoned in favor of methods based on the oxidation of ammonia. The method through the ammonia, realized on an industrial scale in Germany from Ostwald, in 1901, it was then distributed throughout the world and is the only today applied industrially. Comprises three stages: oxidation of ammonia to nitrous oxide with yields of 95-98% Definition Sm. Spanish (adaptation of arabic mudeggian, pp. of dagian, remain) used in English as sm. And add (pl. mudéjares). Name of the Muslims of Spain remained faithful to Islam in the territories reconquered by Christians; in particular: Mudejar style, the artistic production due to the Muslims who, after the Reconquista, continued to work for Christian principles, perpetuating the Moorish tradition. Art The mudejar style, which often convisse and blended with other (it speaks of Romanesque-mudejar gothic, Mudejar-, etc.) in the multiform framework of Spanish architecture, bloomed in different centers and periods: in Toledo in the XII century, Valladolid, Guadalajara, Seville, Teruel, Zaragoza, Cordova in subsequent, up to the XVI century. In architecture the most representative examples are given from the church of S. Maria la Blanca (1405) in Toledo, from the Alcar (1364-78) and from the Casa de Pilatos (1492-1533) in Seville, as well as from the late-Gothic tiburium of Burgos Cathedral (1568). But it is above all in the field of decorative arts that the Mudejar had an extraordinary flourishing; its characters however are certainly a direct continuation of those Moreschi, whose tradition, though with inserts of gothic and renaissance then, is preserved in some sectors up to now by the passing to popular production. The decoration of the chapel of S. Fernando in the mosque of Cordoba (1258) and those of the Alcázar in Seville are evidence of the more showy of this phenomenon that had, at least initially, his artistic capital in Toledo. The reasons moreschi (stalactites, arabesques, inscriptions cufiche, lozenges) you often mix with the naturalistic flora and animals of the gothic style. Very widespread was the wood carving to adorn the jambs, shelves, stalls, etc., combining with gilding and paints, as well as the use of ceramics for covering walls, hooves and floors (typical of Andalusia a ceramic mosaic said alicatado). The factories of Valencia threw the fashion of the azulejo, Blue on white background, while those of Manises and Malaga became specialists in the production of ceramic alustro. Considerable were finally the production of weapons, the wrought iron, leather, fabrics, embroideries and carpets; the latter an important center of production was Alcaráz (until the XVII century). Physiology The hydrochloric acid has considerable physiological importance as a component of the gastric juice. It is secreted by the parietal cells of the gastric glands in concentrations of the order of 170 mEq/liter, corresponding to 0.3-0.5%. In practice these values vary considerably in relation to the intensity and the nature of the stimuli that reach the mucosa, the rate of gastric emptying, the character of the diet, given the tendency of the hydrochloric acid to react with the alkaline radicals of foods. On the other hand there is in the stomach an intrinsic mechanism for adjusting that blocks the secretion of hydrochloric acid when the acidity of the gastric juice exceeds the limit values. The Cl ions? Are released in the stomach from mucosa cells with an active mechanism against the concentration gradient. H+ ions are supplied in their turn by the dissociation of the carbonic acid Definition Sm. Spanish (adaptation of arabic mudeggian, pp. of dagian, remain) used in English as sm. And add (pl. mudéjares). Name of the Muslims of Spain remained faithful to Islam in the territories reconquered by Christians; in particular: Mudejar style, the artistic production due to the Muslims who, after the Reconquista, continued to work for Christian principles, perpetuating the Moorish tradition. Art The mudejar style, which often convisse and blended with other (it speaks of Romanesque-mudejar gothic, Mudejar-, etc.) in the multiform framework of Spanish architecture, bloomed in different centers and periods: in Toledo in the XII century, Valladolid, Guadalajara, Seville, Teruel, Zaragoza, Cordova in subsequent, up to the XVI century. In architecture the most representative examples are given from the church of S. Maria la Blanca (1405) in Toledo, from the Alcar (1364-78) and from the Casa de Pilatos (1492-1533) in Seville, as well as from the late-Gothic tiburium of Burgos Cathedral (1568). But it is above all in the field of decorative arts that the Mudejar had an extraordinary flourishing; its characters however are certainly a direct continuation of those Moreschi, whose tradition, though with inserts of gothic and renaissance then, is preserved in some sectors up to now by the passing to popular production. The decoration of the chapel of S. Fernando in the mosque of Cordoba (1258) and those of the Alcázar in Seville are evidence of the more showy of this phenomenon that had, at least initially, his artistic capital in Toledo. The reasons moreschi (stalactites, arabesques, inscriptions cufiche, lozenges) you often mix with the naturalistic flora and animals of the gothic style. Very widespread was the wood carving to adorn the jambs, shelves, stalls, etc., combining with gilding and paints, as well as the use of ceramics for covering walls, hooves and floors (typical of Andalusia a ceramic mosaic said alicatado). The factories of Valencia threw the fashion of the azulejo, Blue on white background, while those of Manises and Malaga became specialists in the production of ceramic alustro. Considerable were finally the production of weapons, the wrought iron, leather, fabrics, embroideries and carpets; the latter an important center of production was Alcaráz (until the XVII century). Physiology The hydrochloric acid has considerable physiological importance as a component of the gastric juice. It is secreted by the parietal cells of the gastric glands in concentrations of the order of 170 mEq/liter, corresponding to 0.3-0.5%. In practice these values vary considerably in relation to the intensity and the nature of the stimuli that reach the mucosa, the rate of gastric emptying, the character of the diet, given the tendency of the hydrochloric acid to react with the alkaline radicals of foods. On the other hand there is in the stomach an intrinsic mechanism for adjusting that blocks the secretion of hydrochloric acid when the acidity of the gastric juice exceeds the limit values. The Cl ions? Are released in the stomach from mucosa cells with an active mechanism against the concentration gradient. H+ ions are supplied in their turn by the dissociation of the carbonic acid That is formed in large quantities in the parietal cells from the reaction between carbon dioxide (CO2) and water (H2O) catalyzed by the enzyme carbonic anhydrase. Loione HCO?3 back into the blood by combining with the sodium circulating. The acid gastric hydrochloric has multiple functions: transforms the pepsinogeno in pepsin, therefore confers to the stomach has a strongly acid pH (1-2) suitable for peptic digestion of proteins and in particular to the hydrolysis of collagen, stimulates pancreatic secretion, softens the raw cellulose, frees the trivalent iron from organic compounds food, allowing its absorption. Of great importance is finally the antiseptic action exerted by the hydrochloric acid on the microorganisms that are pathogenic and non-pathogenic that in large number reach the stomach. Toxicology Gaseous hydrochloric acid is highly toxic for the respiratory system, causing irritation of the bronchial mucosa and pulmonary edema. In concentrated aqueous solution has caustic action. It should be noted that the commercial hydrochloric acid is more toxic than pure because of arsenic and many other impurities contained in it (see hypochlorhydria and ipercloridria). Nitric acid: General information Chemical compound of formula HNO3. The name derives from that of nitro or saltpetre designating the potassium nitrate from which, by the action of the sulfuric acid, was obtained by the alchemists who indicated with the name of etching. The pure nitric acid anhydrous and is a colorless liquid that is exposed to light is colored in yellow for slow decomposition in water, oxygen and nitrogen dioxide; this remains dissolved in the acid, giving it a yellow color more or less load. The nitric acid is miscible with water in all the reports and forms with it an azeotrope that contains the 68.5% nitric acid has a density of 1.42 and constitutes the common nitric acid that is located in the market. In aqueous solution the nitric acid behaves as an acid fortissimo: in a 0.1 M solution is in fact dissociated for 93%. The nitric acid of media concentration or concentrate is a strong oxidant and attaches quickly the metals, except some such as gold, platinum, radio and iridium. For certain metals such as aluminum, iron and nickel etching with nitric acid very concentrated causes the formation of a protective film of oxide that prevents further oxidation; used more diluted non loses its action. Even non-metallic elements, such as sulfur and phosphorous, react with concentrated nitric acid is transformed into the corresponding oxyacids. The proteins in contact with the concentrated nitric acid assume a lively yellow coloring (xantoproteica reaction) because the tyrosine contained therein is transformed into nitroderivatives precisely yellow in color. Nitric acid: preparation methods The nitric acid was prepared until the beginning of the XX century with a method developed in 1776, starting from natural sodium nitrate (Saltpetre of Chile). The first effective industrial attempts to transform the atmospheric nitrogen directly in nitric acid and nitrates date back to the beginning of the XX century, with the application of the method Birkeland-Eyde, said also process the arc. The temperatures of the voltaic arc the nitrogen and the oxygen in the air are combined between them forming nitric oxide NO, which, after being strongly cooled up to room temperature or slightly higher to prevent the dissociation, is then oxidized by atmospheric oxygen with chlorine dioxide or nitrogen dioxide NO2. The latter, put in contact with water, reacts by generating nitric acid and nitrous acid; the nitrous acid decomposes immediately giving other nitric acid and releasing nitrogen oxide. The process is generally represented by the equation: The nitrogen oxide thus freed is oxidized with chlorine dioxide, which reacts again with water and so forth, until complete transformation of the nitrogen oxide in nitric acid. The method Birkeland-Eyde required a very high consumption of electrical energy and therefore, after being applied in countries that had a large availability of hydroelectric energy at low cost as Norway, it was abandoned in favor of methods based on the oxidation of ammonia. The method through the ammonia, realized on an industrial scale in Germany from Ostwald, in 1901, it was then distributed throughout the world and is the only today applied industrially. Comprises three stages: oxidation of ammonia to nitrous oxide with yields of 95-98% Works The idea of a poem on the Crusade balenata was in the mind of the young poet since 1559, during his first stay in venetian, stressed by the threat of the turkish raids along the coasts of Christian Europe, but also from the historical readings on the deeds of the crusaders and from the persistent memory of a visit made in childhood to the tomb of Pope Urban II at the monastery of Cava dei Tirreni: thus were born the 110 octaves of Gierusalemme, pervaded by a sense of vast symphony but stylistically boorish. Aware of the excessive difficulties of the historical epic, Rate interrupted the Gierusalemme, to indulge in a pleasant fulfillment in the world of the romance of the knights, while striving, the arduous about applying the theories of Giraldi Cinzio on chivalrous poem, whose unit had to be guaranteed by the presence of a single protagonist: thus saw the light, in a very short time, the Rinaldo, poem in 12 songs, in octaves, where you sing the undertakings of the paladin lad, inflamed by the desire for glory and from love for Clarice. In the work are already present some fundamental themes tassiani: the scenographic taste in the episodes guerreschi, the alternation of landscapes now charming and bright now cupi and darkness, the sense languid and morbid of love, the mesta elegy of death. The itinerary Heroic Fantasy Tasso was interrupted around 1573 and give priority to the evasion toward a world only pervaded by the instinctive feeling of love: Thus was born the Aminta, a pastoral tale located in an unspoilt atmosphere and mythical, which fully expresses the hedonism of the Renaissance. The tragedy is pervaded by an intense desire for immersion in the life of the fields, which goes up to the anarchic exaltation of the drunkenness loving, in controversy with the inhibitions hypocritical of the moral law. In contrast with the thrust irrational and anarchic which belongs to this work (defined by Carducci a "portent") took place the critical reflection rate, which is stretched in a wide series of writings, youth speeches of the poetic art, in three books, to mature Discorsi del poema eroico, in six books, from allegory of "Gerusalemme liberata" to the Apologia in defense of "Gerusalemme liberata", from the considerations above three songs of G. B. Pigna to Lesson above a sonnet by Bishop of the house: these and other minor writings together form a synthesis of aesthetics in the age of the Counter-Reformation, founded on the principle of the rule of reason on the passion. Aware that the age charming and graceful dei Cavalieri is gone forever, rate contrasts with the variety of free ariostesche adventures the unity of the artistic conception, in which you must dial, as in a solid and robust architecture, the multiplicity of affections and narrative motion. Other conditions are the historicity of the epic narrative, founded on the principle aristotelian of art as an imitation of the true, the replacement of the old classical mythology with the wonderful Christian, the aspiration to a sublime literature, dominated by the need of decoration and a "speak great and magnificent". On the roots of this complex poetic flourishes the Gerusalemme liberata, where converge in an original braid, heroic reasons and reasons lyrical, within the framework of a "spiritual bifrontismo" adopting constantly a double stylistic register: from sensual tone and morbid thus moves to the tone of energetic and active, while to landscapes impietriti in a desert squalor assume shining heavens and serene. The "heroic" and the "pathetic" are precisely the two registers of the tassiano masterpiece, personificati respectively in Rinaldo and Tancredi: in the first, symbol of the desire to glory, Rate exalts the heroic conception of man inherited from the Renaissance, while in the second expression of the unhappy love casts the anxieties and the killing of its "melancholic mood". In Gerusalemme conquistata, dilated, on the model of the Iliad, in 24 songs, it is clear the intention to resize the romance aspects of the work to the advantage of the romances of religious REQUEST FROM CLIMATE counter-reformist and some improvement expressive due to a more scaltrita wisdom technique can not compensate for the structural complexity and the rhetorical magniloquence of the restoration. In the last years of his life, rate could accomplish in part the desire to collect in a canzoniere its spread opera production: in 1591 was published in Mantua the first part of the Rime, of loving character and, in 1593, went to Brescia the second part, character encomiastico (posthumously appeared the sacred lyric, of marginal interest). In love poems, especially in madrigals, tone petrarcheggiante melts in the taste of the pathetic and in the pleasure of a musicality that transfigures the elements of reality, risolvendoli in a sorrowful participation of nature to the mood of the poet; in the encomiastic poems, through diagrams imposed by costume courtier and the literary tradition, they make their way to some of the accents more intense and sorrowful soul rate, from the evolution of past misfortune to the sentiment of the fleeting nature of time, which translates into a poignant wave of tears. The years of captivity of Sant'Anna dates, as has been said, the majority of the 28 dialogs, wherein rate, harking back to a long tradition that from the dialogs of Plato came up to the treatises of the Renaissance, addresses the many political problems, moral, aesthetic, worldly, then strongly debated in the courts: Missing certainly, in these writings, an original speculative attitude and the wobbling of the writer between Platonism and aristotelianism are frequent; the best dialogs are those in which we express directly the Autobiographical suggestions, as the father of the family to which the prisoner of Sant'Anna entrusts his yearning aspiration to a serene domestic peace. A novelty in the literary production of the sixteenth century is marked by the tragedy Re Torrismondo, which transfers in northern land the reason classic incestuose wedding. In the created world, finally, Rate expresses its condition of man prematurely aged and desirous of peace and quiet. In 1976 was published by E. The sick, a comedy attributed to rate, Intrichi d'amore: following this has opened a controversy between scholars, some of which have been denied the paternity of the Tasso comedy. That is formed in large quantities in the parietal cells from the reaction between carbon dioxide (CO2) and water (H2O) catalyzed by the enzyme carbonic anhydrase. Loione HCO?3 back into the blood by combining with the sodium circulating. The acid gastric hydrochloric has multiple functions: transforms the pepsinogeno in pepsin, therefore confers to the stomach has a strongly acid pH (1-2) suitable for peptic digestion of proteins and in particular to the hydrolysis of collagen, stimulates pancreatic secretion, softens the raw cellulose, frees the trivalent iron from organic compounds food, allowing its absorption. Of great importance is finally the antiseptic action exerted by the hydrochloric acid on the microorganisms that are pathogenic and non-pathogenic that in large number reach the stomach. Toxicology Gaseous hydrochloric acid is highly toxic for the respiratory system, causing irritation of the bronchial mucosa and pulmonary edema. In concentrated aqueous solution has caustic action. It should be noted that the commercial hydrochloric acid is more toxic than pure because of arsenic and many other impurities contained in it (see hypochlorhydria and ipercloridria). Nitric acid: General information Chemical compound of formula HNO3. The name derives from that of nitro or saltpetre designating the potassium nitrate from which, by the action of the sulfuric acid, was obtained by the alchemists who indicated with the name of etching. The pure nitric acid anhydrous and is a colorless liquid that is exposed to light is colored in yellow for slow decomposition in water, oxygen and nitrogen dioxide; this remains dissolved in the acid, giving it a yellow color more or less load. The nitric acid is miscible with water in all the reports and forms with it an azeotrope that contains the 68.5% nitric acid has a density of 1.42 and constitutes the common nitric acid that is located in the market. In aqueous solution the nitric acid behaves as an acid fortissimo: in a 0.1 M solution is in fact dissociated for 93%. The nitric acid of media concentration or concentrate is a strong oxidant and attaches quickly the metals, except some such as gold, platinum, radio and iridium. For certain metals such as aluminum, iron and nickel etching with nitric acid very concentrated causes the formation of a protective film of oxide that prevents further oxidation; used more diluted non loses its action. Even non-metallic elements, such as sulfur and phosphorous, react with concentrated nitric acid is transformed into the corresponding oxyacids. The proteins in contact with the concentrated nitric acid assume a lively yellow coloring (xantoproteica reaction) because the tyrosine contained therein is transformed into nitroderivatives precisely yellow in color. Nitric acid: preparation methods The nitric acid was prepared until the beginning of the XX century with a method developed in 1776, starting from natural sodium nitrate (Saltpetre of Chile). The first effective industrial attempts to transform the atmospheric nitrogen directly in nitric acid and nitrates date back to the beginning of the XX century, with the application of the method Birkeland-Eyde, said also process the arc. The temperatures of the voltaic arc the nitrogen and the oxygen in the air are combined between them forming nitric oxide NO, which, after being strongly cooled up to room temperature or slightly higher to prevent the dissociation, is then oxidized by atmospheric oxygen with chlorine dioxide or nitrogen dioxide NO2. The latter, put in contact with water, reacts by generating nitric acid and nitrous acid; the nitrous acid decomposes immediately giving other nitric acid and releasing nitrogen oxide. The process is generally represented by the equation: The nitrogen oxide thus freed is oxidized with chlorine dioxide, which reacts again with water and so forth, until complete transformation of the nitrogen oxide in nitric acid. The method Birkeland-Eyde required a very high consumption of electrical energy and therefore, after being applied in countries that had a large availability of hydroelectric energy at low cost as Norway, it was abandoned in favor of methods based on the oxidation of ammonia. The method through the ammonia, realized on an industrial scale in Germany from Ostwald, in 1901, it was then distributed throughout the world and is the only today applied industrially. Comprises three stages: oxidation of ammonia to nitrous oxide with yields of 95-98% Works The idea of a poem on the Crusade balenata was in the mind of the young poet since 1559, during his first stay in venetian, stressed by the threat of the turkish raids along the coasts of Christian Europe, but also from the historical readings on the deeds of the crusaders and from the persistent memory of a visit made in childhood to the tomb of Pope Urban II at the monastery of Cava dei Tirreni: thus were born the 110 octaves of Gierusalemme, pervaded by a sense of vast symphony but stylistically boorish. Aware of the excessive difficulties of the historical epic, Rate interrupted the Gierusalemme, to indulge in a pleasant fulfillment in the world of the romance of the knights, while striving, the arduous about applying the theories of Giraldi Cinzio on chivalrous poem, whose unit had to be guaranteed by the presence of a single protagonist: thus saw the light, in a very short time, the Rinaldo, poem in 12 songs, in octaves, where you sing the undertakings of the paladin lad, inflamed by the desire for glory and from love for Clarice. In the work are already present some fundamental themes tassiani: the scenographic taste in the episodes guerreschi, the alternation of landscapes now charming and bright now cupi and darkness, the sense languid and morbid of love, the mesta elegy of death. The itinerary Heroic Fantasy Tasso was interrupted around 1573 and give priority to the evasion toward a world only pervaded by the instinctive feeling of love: Thus was born the Aminta, a pastoral tale located in an unspoilt atmosphere and mythical, which fully expresses the hedonism of the Renaissance. The tragedy is pervaded by an intense desire for immersion in the life of the fields, which goes up to the anarchic exaltation of the drunkenness loving, in controversy with the inhibitions hypocritical of the moral law. In contrast with the thrust irrational and anarchic which belongs to this work (defined by Carducci a "portent") took place the critical reflection rate, which is stretched in a wide series of writings, youth speeches of the poetic art, in three books, to mature Discorsi del poema eroico, in six books, from allegory of "Gerusalemme liberata" to the Apologia in defense of "Gerusalemme liberata", from the considerations above three songs of G. B. Pigna to Lesson above a sonnet by Bishop of the house: these and other minor writings together form a synthesis of aesthetics in the age of the Counter-Reformation, founded on the principle of the rule of reason on the passion. Aware that the age charming and graceful dei Cavalieri is gone forever, rate contrasts with the variety of free ariostesche adventures the unity of the artistic conception, in which you must dial, as in a solid and robust architecture, the multiplicity of affections and narrative motion. Other conditions are the historicity of the epic narrative, founded on the principle aristotelian of art as an imitation of the true, the replacement of the old classical mythology with the wonderful Christian, the aspiration to a sublime literature, dominated by the need of decoration and a "speak great and magnificent". On the roots of this complex poetic flourishes the Gerusalemme liberata, where converge in an original braid, heroic reasons and reasons lyrical, within the framework of a "spiritual bifrontismo" adopting constantly a double stylistic register: from sensual tone and morbid thus moves to the tone of energetic and active, while to landscapes impietriti in a desert squalor assume shining heavens and serene. The "heroic" and the "pathetic" are precisely the two registers of the tassiano masterpiece, personificati respectively in Rinaldo and Tancredi: in the first, symbol of the desire to glory, Rate exalts the heroic conception of man inherited from the Renaissance, while in the second expression of the unhappy love casts the anxieties and the killing of its "melancholic mood". In Gerusalemme conquistata, dilated, on the model of the Iliad, in 24 songs, it is clear the intention to resize the romance aspects of the work to the advantage of the romances of religious REQUEST FROM CLIMATE counter-reformist and some improvement expressive due to a more scaltrita wisdom technique can not compensate for the structural complexity and the rhetorical magniloquence of the restoration. In the last years of his life, rate could accomplish in part the desire to collect in a canzoniere its spread opera production: in 1591 was published in Mantua the first part of the Rime, of loving character and, in 1593, went to Brescia the second part, character encomiastico (posthumously appeared the sacred lyric, of marginal interest). In love poems, especially in madrigals, tone petrarcheggiante melts in the taste of the pathetic and in the pleasure of a musicality that transfigures the elements of reality, risolvendoli in a sorrowful participation of nature to the mood of the poet; in the encomiastic poems, through diagrams imposed by costume courtier and the literary tradition, they make their way to some of the accents more intense and sorrowful soul rate, from the evolution of past misfortune to the sentiment of the fleeting nature of time, which translates into a poignant wave of tears. The years of captivity of Sant'Anna dates, as has been said, the majority of the 28 dialogs, wherein rate, harking back to a long tradition that from the dialogs of Plato came up to the treatises of the Renaissance, addresses the many political problems, moral, aesthetic, worldly, then strongly debated in the courts: Missing certainly, in these writings, an original speculative attitude and the wobbling of the writer between Platonism and aristotelianism are frequent; the best dialogs are those in which we express directly the Autobiographical suggestions, as the father of the family to which the prisoner of Sant'Anna entrusts his yearning aspiration to a serene domestic peace. A novelty in the literary production of the sixteenth century is marked by the tragedy Re Torrismondo, which transfers in northern land the reason classic incestuose wedding. In the created world, finally, Rate expresses its condition of man prematurely aged and desirous of peace and quiet. In 1976 was published by E. The sick, a comedy attributed to rate, Intrichi d'amore: following this has opened a controversy between scholars, some of which have been denied the paternity of the Tasso comedy. Works The idea of a poem on the Crusade balenata was in the mind of the young poet since 1559, during his first stay in venetian, stressed by the threat of the turkish raids along the coasts of Christian Europe, but also from the historical readings on the deeds of the crusaders and from the persistent memory of a visit made in childhood to the tomb of Pope Urban II at the monastery of Cava dei Tirreni: thus were born the 110 octaves of Gierusalemme, pervaded by a sense of vast symphony but stylistically boorish. Aware of the excessive difficulties of the historical epic, Rate interrupted the Gierusalemme, to indulge in a pleasant fulfillment in the world of the romance of the knights, while striving, the arduous about applying the theories of Giraldi Cinzio on chivalrous poem, whose unit had to be guaranteed by the presence of a single protagonist: thus saw the light, in a very short time, the Rinaldo, poem in 12 songs, in octaves, where you sing the undertakings of the paladin lad, inflamed by the desire for glory and from love for Clarice. In the work are already present some fundamental themes tassiani: the scenographic taste in the episodes guerreschi, the alternation of landscapes now charming and bright now cupi and darkness, the sense languid and morbid of love, the mesta elegy of death. The itinerary Heroic Fantasy Tasso was interrupted around 1573 and give priority to the evasion toward a world only pervaded by the instinctive feeling of love: Thus was born the Aminta, a pastoral tale located in an unspoilt atmosphere and mythical, which fully expresses the hedonism of the Renaissance. The tragedy is pervaded by an intense desire for immersion in the life of the fields, which goes up to the anarchic exaltation of the drunkenness loving, in controversy with the inhibitions hypocritical of the moral law. In contrast with the thrust irrational and anarchic which belongs to this work (defined by Carducci a "portent") took place the critical reflection rate, which is stretched in a wide series of writings, youth speeches of the poetic art, in three books, to mature Discorsi del poema eroico, in six books, from allegory of "Gerusalemme liberata" to the Apologia in defense of "Gerusalemme liberata", from the considerations above three songs of G. B. Pigna to Lesson above a sonnet by Bishop of the house: these and other minor writings together form a synthesis of aesthetics in the age of the Counter-Reformation, founded on the principle of the rule of reason on the passion. Aware that the age charming and graceful dei Cavalieri is gone forever, rate contrasts with the variety of free ariostesche adventures the unity of the artistic conception, in which you must dial, as in a solid and robust architecture, the multiplicity of affections and narrative motion. Other conditions are the historicity of the epic narrative, founded on the principle aristotelian of art as an imitation of the true, the replacement of the old classical mythology with the wonderful Christian, the aspiration to a sublime literature, dominated by the need of decoration and a "speak great and magnificent". On the roots of this complex poetic flourishes the Gerusalemme liberata, where converge in an original braid, heroic reasons and reasons lyrical, within the framework of a "spiritual bifrontismo" adopting constantly a double stylistic register: from sensual tone and morbid thus moves to the tone of energetic and active, while to landscapes impietriti in a desert squalor assume shining heavens and serene. The "heroic" and the "pathetic" are precisely the two registers of the tassiano masterpiece, personificati respectively in Rinaldo and Tancredi: in the first, symbol of the desire to glory, Rate exalts the heroic conception of man inherited from the Renaissance, while in the second expression of the unhappy love casts the anxieties and the killing of its "melancholic mood". In Gerusalemme conquistata, dilated, on the model of the Iliad, in 24 songs, it is clear the intention to resize the romance aspects of the work to the advantage of the romances of religious REQUEST FROM CLIMATE counter-reformist and some improvement expressive due to a more scaltrita wisdom technique can not compensate for the structural complexity and the rhetorical magniloquence of the restoration. In the last years of his life, rate could accomplish in part the desire to collect in a canzoniere its spread opera production: in 1591 was published in Mantua the first part of the Rime, of loving character and, in 1593, went to Brescia the second part, character encomiastico (posthumously appeared the sacred lyric, of marginal interest). In love poems, especially in madrigals, tone petrarcheggiante melts in the taste of the pathetic and in the pleasure of a musicality that transfigures the elements of reality, risolvendoli in a sorrowful participation of nature to the mood of the poet; in the encomiastic poems, through diagrams imposed by costume courtier and the literary tradition, they make their way to some of the accents more intense and sorrowful soul rate, from the evolution of past misfortune to the sentiment of the fleeting nature of time, which translates into a poignant wave of tears. The years of captivity of Sant'Anna dates, as has been said, the majority of the 28 dialogs, wherein rate, harking back to a long tradition that from the dialogs of Plato came up to the treatises of the Renaissance, addresses the many political problems, moral, aesthetic, worldly, then strongly debated in the courts: Missing certainly, in these writings, an original speculative attitude and the wobbling of the writer between Platonism and aristotelianism are frequent; the best dialogs are those in which we express directly the Autobiographical suggestions, as the father of the family to which the prisoner of Sant'Anna entrusts his yearning aspiration to a serene domestic peace. A novelty in the literary production of the sixteenth century is marked by the tragedy Re Torrismondo, which transfers in northern land the reason classic incestuose wedding. In the created world, finally, Rate expresses its condition of man prematurely aged and desirous of peace and quiet. In 1976 was published by E. The sick, a comedy attributed to rate, Intrichi d'amore: following this has opened a controversy between scholars, some of which have been denied the paternity of the Tasso comedy.