Orlando furioso It was already very advanced in the composition of the 1507; it came to his definitive aspect in 1532 (The Cinque canti, published posthumously, attest, in addition that a certain decline in the vein of the poet, presentimenti of a different taste). This shows how the poem has constituted, overwhelmingly, at the center of all the creative activity of the Ariosto. According to an initial definition, the Furioso was to be a kind of a supplement to the Orlando innamorato that M. M. Boiardo, plucked from death, had left unfinished. But it is a different ideological perspective in which arose for the Ariosto, with respect to the chips and to Boiardo, the chivalrous world: no more attractive paradigm and although distant, but literary fiction which celebrate the values still present (the heroism, honor, especially love) and through whose characters exalt the variety, and often the greatness of the human action. Thus, accepted the immersion of the Carolingian cycle (EPIC) in the Breton atmosphere and romance of the Round Table, continued the alternation between utilization of novels medieval French (much appreciated at Ferrara) and classical texts, Ariosto elaborated something absolutely new also in style and language. Complex, but calibratissima, the structure of the poem, which from 40 songs was brought to the last edition to 46. Make scaffold the events of the war between Carlo Magno and Agramante: the alternation of periods of tranquillity and hold with those of war guerreggiata governs the movements of the characters. This structural method is corroborated by the presence, discreet but firm, the poet who with a subtle art of transitions brings the reader to a superior contemplation of the extreme positive and negative sentiment, limits (tragic and comic, sublime and miserable) that may from time to time to reach the human action. Two are the main frames that are deposited in the manner described, on the scaffold constituted by war events: they concern Orlando and Ruggiero. In their adventures (between which there is a thin antagonistic parallelism) it is clear the intention to draw in an exemplary way the parable of two moral personality, through a drawing that leads to Ruggiero awareness of his own being and of his destiny that leads Orlando to epic magnitude of its origins. Also the other characters are consistent in their complexity and their design, while idealized, not never betrays the reality. For the rest, the imagination of the Ariosto does not aim at an escape from reality, but to the creation of a poetic world that of reality recur in a larger scale and with greater freedom of experimentation, the proportions. We grasp the relationship of mutual need between commitment realistic detectable in the individual portraits, in the panorama of human affections, in the representation of the actions and reactions that govern them and, on the other hand, the dilettoso abandonment to the possibilities of the fairy tale and the escape fantastic, among palaces and enchanted islands, between ippogrifi and interstellar travel, between fairy weapons and miraculous invulnerability, between giants and monsters. It is a sensible ratio and allusively produced by Ariosto, that through the contemporary references and underscores gentlemanly moralistic detects the truth and the effettualità characters and feelings, while with the irony or with the joke mark the margins of free invention. The irony exerts a continuous return to equilibrium, not only discovering how these flights of fancy, but also by attenuating the tips of the idealization. The irony is truly a sign of wisdom, but a wisdom that also knows the value of illusion and imagination. The figurative Ariosto's tends in fact to transfigure, mostly recreating the vision according to the taste of the renaissance of the architectural euritmia and chromatic effects, but equally often creating: yes to arouse a poetic world provided with inexhaustible possibilities and perspectives. The fantasy constitutes, in conclusion, one of the dimensions of the sense of the beauty of the Ariosto; and the sense of beauty shows the seal to the extent that inspires and restrains. This measure is quite obvious in the smile of the poet: a smile of warning, because the reality of poetry is not confused with the realities of life. But this smile also illuminates the pleasure of the invention, expresses the affection of the author toward a world that will be even constituted with the stuff of dreams, but that has reached the vitality of the art. Biography The Italian poet (Sorrento 1544-Rome 1595). Son of the poet Bernardo and of the noblewoman Porzia de' Rossi, had a childhood marred by the immature death of his mother and the early experience of exile: followed in fact in Rome the father who had remained faithful to its lord, Ferrante Sanseverino, rebel declared by the viceroy of Naples, and accompanied him in humiliating wanderings at the various Italian courts, in search of hospitality and work; after a short stay in Bergamo, rejoined with his father to Urbino, where the splendid court of Guidobaldo II della Rovere, cultivated the letters and the knightly arts. In 1559 he moved with his father to Venice, where he composed the first book of the Gierusalemme; the following year, he went to Padua intraprendervi for legal studies and entered in relation with the illustrious writers, such as S. The spurs, F. Piccolomini, C. Sigonio, taking part with the name of "Repentant", of the Accademia degli Eterei. In the meantime, he completed the Rinaldo, published in Venice in 1562, and wrote poems of love for Lucrezia Bendidio and Laura Peperara. In 1565 he moved to Ferrara, at the service of Cardinal Luigi d'Este, then (1572) of Duke Alfonso II; protected by princesses Lucrezia and Eleonora, Sisters of the duke, Tasso lived then the period humanly more happy and lyrically more fertile of his life: while continuing its production of love poems and encomiastic began to compose the Aminta, which was represented on the evening of 31 July 1573 in the islet of Belvedere on the Po, gave beginning to tragedy Galealto King of Norway and brought to an end in 1575, with the title of Goffredo, his masterpiece, which will be published in 1581 by the friend Angelo Ingegneri, with the title of the Gerusalemme liberata. But the nervous tension of the poet, already put to the test by the feverish compositional labor, not resisted new, exhausting toil of the revision of the poem: literary figures from him sottoposero questioned the text of Jerusalem to pedantesche complaints of literary character and moral, exaggerated doubts artistic and religious scruples of the poet, who gave rise to a true psychic imbalance. After you have devised, in the allegory of the "Gerusalemme liberata" (1576), thin moral meanings for your poem, rate was submitted to the examination of the inquisitor of Ferrara, accusandosi of heresy and allarmando so the duke, aware of the dangerous political repercussions that a new scandal, after that raised by the mother Renée of France for his ideas calviniste, could generate in the Curia of Rome. The acquittal of the inquisitor did not appease its scruples and its torments: a day while he confided to Princess Lucrezia its anxieties, believed spied by a servant and the launched against a knife. Segregated by Duke in the Castello Estense, then in the convent of San Francesco, managed to escape and gave beginning to his restless travels through the peninsula, now dominated by an incurable "humor melancholic". Went to Sorrento, at his sister Cornelia, disguised as a shepherd, and announced the death of his brother to make sure of his affection; returned to Ferrara (1578), went then to Urbino and, after a stopover in other cities, in Turin. In 1579 returned suddenly at Ferrara, while celebrating the third marriage of the duke Alfonso with Margherita Gonzaga: thinking to be neglected, proruppe in escandescenze against the duke, which made him enclosing as crazy at the Sant'Anna hospital, where he stayed for seven long years. In those seven years rate he made an appeal to all its intellectual energies to rehabilitate his dignity of man and his greatness of poet (offense, the latter, from edition incorrect and incomplete of Goffredo, occurred without his knowledge in 1580): composed several of 28 Dialogs and the Apologia in defense of "Gerusalemme liberata", with which intervene in the polemic lit on the priority of Ariosto on rate or vice versa, but to literary occupations of parenthesis of lucidity alternated with moments of tension psychic, frighteningly undermined by hallucinations and anguish, evoked in letters of deep fascination. Released in 1586 through the intercession of Prince Vincenzo Gonzaga, went to Mantua, where, in homage to his new protector, wrote the tragedy Re Torrismondo (1587), recovering the Galealto youth. But the environment of the Court not seduceva more soul disillusioned and tired of the poet and, in October 1587, he resumed his tormenting wanderings, looking for hospitality in convents and in the homes of friends: the shrine of Loreto, the house of Scipione Gonzaga in Rome (where he wrote Rogo amoroso), the monastery of the Olivetan monks in Naples (where he composed the poem The Monte Oliveto), yet the court of Mantua (where, in honor of the Duke Vincenzo Gonzaga, wrote the book of the genealogy of Casa Gonzaga), the house of G. B. Manso in Naples (where undertaken the seven days of the created world), the house of Cardinal Cinzio Aldobrandini, which he devoted, in 1593, the reconstruction of his poem with the title of the Gerusalemme conquistata (the same year date back the tears of the Blessed Virgin and the tears of Christ), the monastery of San Benedetto in Naples (where, in 1594, saw the light the six Discorsi del poema eroico) and finally the convent of Sant'Onofrio in Rome, on the Gianicolo Hill, where, as he wrote in a famous letter, "with the conversation of these divoti fathers", began his "conversation in Heaven". Orlando furioso It was already very advanced in the composition of the 1507; it came to his definitive aspect in 1532 (The Cinque canti, published posthumously, attest, in addition that a certain decline in the vein of the poet, presentimenti of a different taste). This shows how the poem has constituted, overwhelmingly, at the center of all the creative activity of the Ariosto. According to an initial definition, the Furioso was to be a kind of a supplement to the Orlando innamorato that M. M. Boiardo, plucked from death, had left unfinished. But it is a different ideological perspective in which arose for the Ariosto, with respect to the chips and to Boiardo, the chivalrous world: no more attractive paradigm and although distant, but literary fiction which celebrate the values still present (the heroism, honor, especially love) and through whose characters exalt the variety, and often the greatness of the human action. Thus, accepted the immersion of the Carolingian cycle (EPIC) in the Breton atmosphere and romance of the Round Table, continued the alternation between utilization of novels medieval French (much appreciated at Ferrara) and classical texts, Ariosto elaborated something absolutely new also in style and language. Complex, but calibratissima, the structure of the poem, which from 40 songs was brought to the last edition to 46. Make scaffold the events of the war between Carlo Magno and Agramante: the alternation of periods of tranquillity and hold with those of war guerreggiata governs the movements of the characters. This structural method is corroborated by the presence, discreet but firm, the poet who with a subtle art of transitions brings the reader to a superior contemplation of the extreme positive and negative sentiment, limits (tragic and comic, sublime and miserable) that may from time to time to reach the human action. Two are the main frames that are deposited in the manner described, on the scaffold constituted by war events: they concern Orlando and Ruggiero. In their adventures (between which there is a thin antagonistic parallelism) it is clear the intention to draw in an exemplary way the parable of two moral personality, through a drawing that leads to Ruggiero awareness of his own being and of his destiny that leads Orlando to epic magnitude of its origins. Also the other characters are consistent in their complexity and their design, while idealized, not never betrays the reality. For the rest, the imagination of the Ariosto does not aim at an escape from reality, but to the creation of a poetic world that of reality recur in a larger scale and with greater freedom of experimentation, the proportions. We grasp the relationship of mutual need between commitment realistic detectable in the individual portraits, in the panorama of human affections, in the representation of the actions and reactions that govern them and, on the other hand, the dilettoso abandonment to the possibilities of the fairy tale and the escape fantastic, among palaces and enchanted islands, between ippogrifi and interstellar travel, between fairy weapons and miraculous invulnerability, between giants and monsters. It is a sensible ratio and allusively produced by Ariosto, that through the contemporary references and underscores gentlemanly moralistic detects the truth and the effettualità characters and feelings, while with the irony or with the joke mark the margins of free invention. The irony exerts a continuous return to equilibrium, not only discovering how these flights of fancy, but also by attenuating the tips of the idealization. The irony is truly a sign of wisdom, but a wisdom that also knows the value of illusion and imagination. The figurative Ariosto's tends in fact to transfigure, mostly recreating the vision according to the taste of the renaissance of the architectural euritmia and chromatic effects, but equally often creating: yes to arouse a poetic world provided with inexhaustible possibilities and perspectives. The fantasy constitutes, in conclusion, one of the dimensions of the sense of the beauty of the Ariosto; and the sense of beauty shows the seal to the extent that inspires and restrains. This measure is quite obvious in the smile of the poet: a smile of warning, because the reality of poetry is not confused with the realities of life. But this smile also illuminates the pleasure of the invention, expresses the affection of the author toward a world that will be even constituted with the stuff of dreams, but that has reached the vitality of the art. Biography The Italian poet (Sorrento 1544-Rome 1595). Son of the poet Bernardo and of the noblewoman Porzia de' Rossi, had a childhood marred by the immature death of his mother and the early experience of exile: followed in fact in Rome the father who had remained faithful to its lord, Ferrante Sanseverino, rebel declared by the viceroy of Naples, and accompanied him in humiliating wanderings at the various Italian courts, in search of hospitality and work; after a short stay in Bergamo, rejoined with his father to Urbino, where the splendid court of Guidobaldo II della Rovere, cultivated the letters and the knightly arts. In 1559 he moved with his father to Venice, where he composed the first book of the Gierusalemme; the following year, he went to Padua intraprendervi for legal studies and entered in relation with the illustrious writers, such as S. The spurs, F. Piccolomini, C. Sigonio, taking part with the name of "Repentant", of the Accademia degli Eterei. In the meantime, he completed the Rinaldo, published in Venice in 1562, and wrote poems of love for Lucrezia Bendidio and Laura Peperara. In 1565 he moved to Ferrara, at the service of Cardinal Luigi d'Este, then (1572) of Duke Alfonso II; protected by princesses Lucrezia and Eleonora, Sisters of the duke, Tasso lived then the period humanly more happy and lyrically more fertile of his life: while continuing its production of love poems and encomiastic began to compose the Aminta, which was represented on the evening of 31 July 1573 in the islet of Belvedere on the Po, gave beginning to tragedy Galealto King of Norway and brought to an end in 1575, with the title of Goffredo, his masterpiece, which will be published in 1581 by the friend Angelo Ingegneri, with the title of the Gerusalemme liberata. But the nervous tension of the poet, already put to the test by the feverish compositional labor, not resisted new, exhausting toil of the revision of the poem: literary figures from him sottoposero questioned the text of Jerusalem to pedantesche complaints of literary character and moral, exaggerated doubts artistic and religious scruples of the poet, who gave rise to a true psychic imbalance. After you have devised, in the allegory of the "Gerusalemme liberata" (1576), thin moral meanings for your poem, rate was submitted to the examination of the inquisitor of Ferrara, accusandosi of heresy and allarmando so the duke, aware of the dangerous political repercussions that a new scandal, after that raised by the mother Renée of France for his ideas calviniste, could generate in the Curia of Rome. The acquittal of the inquisitor did not appease its scruples and its torments: a day while he confided to Princess Lucrezia its anxieties, believed spied by a servant and the launched against a knife. Segregated by Duke in the Castello Estense, then in the convent of San Francesco, managed to escape and gave beginning to his restless travels through the peninsula, now dominated by an incurable "humor melancholic". Went to Sorrento, at his sister Cornelia, disguised as a shepherd, and announced the death of his brother to make sure of his affection; returned to Ferrara (1578), went then to Urbino and, after a stopover in other cities, in Turin. In 1579 returned suddenly at Ferrara, while celebrating the third marriage of the duke Alfonso with Margherita Gonzaga: thinking to be neglected, proruppe in escandescenze against the duke, which made him enclosing as crazy at the Sant'Anna hospital, where he stayed for seven long years. In those seven years rate he made an appeal to all its intellectual energies to rehabilitate his dignity of man and his greatness of poet (offense, the latter, from edition incorrect and incomplete of Goffredo, occurred without his knowledge in 1580): composed several of 28 Dialogs and the Apologia in defense of "Gerusalemme liberata", with which intervene in the polemic lit on the priority of Ariosto on rate or vice versa, but to literary occupations of parenthesis of lucidity alternated with moments of tension psychic, frighteningly undermined by hallucinations and anguish, evoked in letters of deep fascination. Released in 1586 through the intercession of Prince Vincenzo Gonzaga, went to Mantua, where, in homage to his new protector, wrote the tragedy Re Torrismondo (1587), recovering the Galealto youth. But the environment of the Court not seduceva more soul disillusioned and tired of the poet and, in October 1587, he resumed his tormenting wanderings, looking for hospitality in convents and in the homes of friends: the shrine of Loreto, the house of Scipione Gonzaga in Rome (where he wrote Rogo amoroso), the monastery of the Olivetan monks in Naples (where he composed the poem The Monte Oliveto), yet the court of Mantua (where, in honor of the Duke Vincenzo Gonzaga, wrote the book of the genealogy of Casa Gonzaga), the house of G. B. Manso in Naples (where undertaken the seven days of the created world), the house of Cardinal Cinzio Aldobrandini, which he devoted, in 1593, the reconstruction of his poem with the title of the Gerusalemme conquistata (the same year date back the tears of the Blessed Virgin and the tears of Christ), the monastery of San Benedetto in Naples (where, in 1594, saw the light the six Discorsi del poema eroico) and finally the convent of Sant'Onofrio in Rome, on the Gianicolo Hill, where, as he wrote in a famous letter, "with the conversation of these divoti fathers", began his "conversation in Heaven". Biography ( Publíus Latin Ovidíus The nose). The Latin poet (Sulmona 43 a. C.-Tomi 17 d. C.). Of Equestrian family came child to Rome for his studies and immediately revealed, at the school of rhetoric, his qualities poetics. It is perfected as s'used, Athens, visited the Asia Minor and Egypt and returning to Rome he entered the literary circle of Messalla Corvino. He had many loves and three wives, the last of which remained faithful to the extreme. He overlaid some public offices of little significance. Dominated rather the worldly environments, where his amorous poetry riscossero great success; was in relations with the greater poets of the time: Properzio, Tibullus, Orazio. Toward the 3 d. C. In the atmosphere of the Augustan age, he turned to the mythological epic and national level with the Metamorphosis and the splendour. It was in the course precisely the composition of the Fasti when befell, in 8 d. C., a notice of the emperor immediately leave Italy for Tomi town on the Black Sea. The reasons for the measure are obscure: the poet speaks of it on several occasions, but always so confused or vague, alludes to the fact of being state with its "abhorrent" poems "master of inconvenient adulterers", and of having assisted unwisely to a "guilt" in a stately home; certainly a manual as the Ars Amatoria contrasted with the action moralistic and national restoration pursued by the emperor. A year after Ovid sbarcava to tomes, seaside village between the barbarians and ice. Poetò still: laments, petitions more than anything else in the hope to obtain the withdrawal of the decree of Augustus, but unnecessarily, and Tomi the conquered death. The works The production of Ovid has reached us almost the entire. Before his work of teenager were the Amores (Love), collection of elegies in five books, then reduced to three, in honor of a Corinna, Greek name probably a fictitious character. Almost simultaneously to the Amores were composed the Heroides (Epistulae), collection of twenty-one imaginary letters: the first fifteen are written in the form of lamentation from heroines of myth and history to their lovers, the last six constitute three pairs, letters of heroes their women and answers to these latter. The culminating moment of the elegy erotica is the subsequent Ars Amatoria, a poem instructive in three books on how man can conquer the woman and keep it, and how the woman can be loved. The contrast between the commitment of the art and the frivolity of matter communicates an intelligent brio at work to which followed the short booklet (little more than eight hundred verses) of Remedia amoris, on ways to get rid of a woman or a passion burdensome, and an elegiac poem, you have a hundred verses, on cosmetics of feminine beauty (Medicamina faciei). The subsequent Metamorphosis are a vast poem in 15 books, in esametri, comprising approximately two hundred tales of mythological trasmutazioni (men mutated in animals or plants), a reproduced from the other in a relentless proliferation. The theme of the transformation had already affected the alessandrini; it was the vision of an unstable world, a reality in perpetual change. The restless personality of Ovid if he felt attracted, as well as its inspiration multiform, its visual imagination and his poetic Art, eminently representative, capable and tempted by the most difficult situations. The Metamorphosis are his masterpiece: the success in many of these episodes, in the continuous variation of the same theme, test his poetic genius, but together it indicates the limit in an art entirely exterior. In a series of episodes is also constituted the last and interrupted Opera Romana of Ovid, the splendour, in which the poet was proposed to sing systematically, in 12 books in distici elegiac insertions, feasts of the twelve months of the year; could not write that six, from January to June, before the exile. To Tomi Ovid put together two other collections of elegies, the five books of Tristia, a series of letters without indications of the recipient in which from 8 to 12, described the history of his condemnation, its bitterness and its desperation for solitude and remoteness of Tomi; they were followed by the 4 books of Epistulae ex Ponto, not different in tone from the first, but more sluggish, facing each in a particular character. Conclude the production ovidiana invective Ibis and a poem on fishing and on fish (Halieutica), of which there remain esametri 135. The luck of Ovid in the centuries was immense since the imperial age; in the Middle Ages he was, together with Virgilio, the classic more read and imitated. Readings of Ovid is nurtured Dante, Petrarca, Boccaccio, Chaucer, the poets of the Renaissance. Sannazaro, Boiardo, Ariosto, Tasso ne drew more than one reason or erotic idyllic; Ovid was among the favorite readings of Shakespeare and his mannerism was a component of the taste of the baroque age; Góngora and Marino it felt strongly the suggestion, as well as later heard him congenial D'Annunzio. Orlando furioso It was already very advanced in the composition of the 1507; it came to his definitive aspect in 1532 (The Cinque canti, published posthumously, attest, in addition that a certain decline in the vein of the poet, presentimenti of a different taste). This shows how the poem has constituted, overwhelmingly, at the center of all the creative activity of the Ariosto. According to an initial definition, the Furioso was to be a kind of a supplement to the Orlando innamorato that M. M. Boiardo, plucked from death, had left unfinished. But it is a different ideological perspective in which arose for the Ariosto, with respect to the chips and to Boiardo, the chivalrous world: no more attractive paradigm and although distant, but literary fiction which celebrate the values still present (the heroism, honor, especially love) and through whose characters exalt the variety, and often the greatness of the human action. Thus, accepted the immersion of the Carolingian cycle (EPIC) in the Breton atmosphere and romance of the Round Table, continued the alternation between utilization of novels medieval French (much appreciated at Ferrara) and classical texts, Ariosto elaborated something absolutely new also in style and language. Complex, but calibratissima, the structure of the poem, which from 40 songs was brought to the last edition to 46. Make scaffold the events of the war between Carlo Magno and Agramante: the alternation of periods of tranquillity and hold with those of war guerreggiata governs the movements of the characters. This structural method is corroborated by the presence, discreet but firm, the poet who with a subtle art of transitions brings the reader to a superior contemplation of the extreme positive and negative sentiment, limits (tragic and comic, sublime and miserable) that may from time to time to reach the human action. Two are the main frames that are deposited in the manner described, on the scaffold constituted by war events: they concern Orlando and Ruggiero. In their adventures (between which there is a thin antagonistic parallelism) it is clear the intention to draw in an exemplary way the parable of two moral personality, through a drawing that leads to Ruggiero awareness of his own being and of his destiny that leads Orlando to epic magnitude of its origins. Also the other characters are consistent in their complexity and their design, while idealized, not never betrays the reality. For the rest, the imagination of the Ariosto does not aim at an escape from reality, but to the creation of a poetic world that of reality recur in a larger scale and with greater freedom of experimentation, the proportions. We grasp the relationship of mutual need between commitment realistic detectable in the individual portraits, in the panorama of human affections, in the representation of the actions and reactions that govern them and, on the other hand, the dilettoso abandonment to the possibilities of the fairy tale and the escape fantastic, among palaces and enchanted islands, between ippogrifi and interstellar travel, between fairy weapons and miraculous invulnerability, between giants and monsters. It is a sensible ratio and allusively produced by Ariosto, that through the contemporary references and underscores gentlemanly moralistic detects the truth and the effettualità characters and feelings, while with the irony or with the joke mark the margins of free invention. The irony exerts a continuous return to equilibrium, not only discovering how these flights of fancy, but also by attenuating the tips of the idealization. The irony is truly a sign of wisdom, but a wisdom that also knows the value of illusion and imagination. The figurative Ariosto's tends in fact to transfigure, mostly recreating the vision according to the taste of the renaissance of the architectural euritmia and chromatic effects, but equally often creating: yes to arouse a poetic world provided with inexhaustible possibilities and perspectives. The fantasy constitutes, in conclusion, one of the dimensions of the sense of the beauty of the Ariosto; and the sense of beauty shows the seal to the extent that inspires and restrains. This measure is quite obvious in the smile of the poet: a smile of warning, because the reality of poetry is not confused with the realities of life. But this smile also illuminates the pleasure of the invention, expresses the affection of the author toward a world that will be even constituted with the stuff of dreams, but that has reached the vitality of the art. Biography The Italian poet (Sorrento 1544-Rome 1595). Son of the poet Bernardo and of the noblewoman Porzia de' Rossi, had a childhood marred by the immature death of his mother and the early experience of exile: followed in fact in Rome the father who had remained faithful to its lord, Ferrante Sanseverino, rebel declared by the viceroy of Naples, and accompanied him in humiliating wanderings at the various Italian courts, in search of hospitality and work; after a short stay in Bergamo, rejoined with his father to Urbino, where the splendid court of Guidobaldo II della Rovere, cultivated the letters and the knightly arts. In 1559 he moved with his father to Venice, where he composed the first book of the Gierusalemme; the following year, he went to Padua intraprendervi for legal studies and entered in relation with the illustrious writers, such as S. The spurs, F. Piccolomini, C. Sigonio, taking part with the name of "Repentant", of the Accademia degli Eterei. In the meantime, he completed the Rinaldo, published in Venice in 1562, and wrote poems of love for Lucrezia Bendidio and Laura Peperara. In 1565 he moved to Ferrara, at the service of Cardinal Luigi d'Este, then (1572) of Duke Alfonso II; protected by princesses Lucrezia and Eleonora, Sisters of the duke, Tasso lived then the period humanly more happy and lyrically more fertile of his life: while continuing its production of love poems and encomiastic began to compose the Aminta, which was represented on the evening of 31 July 1573 in the islet of Belvedere on the Po, gave beginning to tragedy Galealto King of Norway and brought to an end in 1575, with the title of Goffredo, his masterpiece, which will be published in 1581 by the friend Angelo Ingegneri, with the title of the Gerusalemme liberata. But the nervous tension of the poet, already put to the test by the feverish compositional labor, not resisted new, exhausting toil of the revision of the poem: literary figures from him sottoposero questioned the text of Jerusalem to pedantesche complaints of literary character and moral, exaggerated doubts artistic and religious scruples of the poet, who gave rise to a true psychic imbalance. After you have devised, in the allegory of the "Gerusalemme liberata" (1576), thin moral meanings for your poem, rate was submitted to the examination of the inquisitor of Ferrara, accusandosi of heresy and allarmando so the duke, aware of the dangerous political repercussions that a new scandal, after that raised by the mother Renée of France for his ideas calviniste, could generate in the Curia of Rome. The acquittal of the inquisitor did not appease its scruples and its torments: a day while he confided to Princess Lucrezia its anxieties, believed spied by a servant and the launched against a knife. Segregated by Duke in the Castello Estense, then in the convent of San Francesco, managed to escape and gave beginning to his restless travels through the peninsula, now dominated by an incurable "humor melancholic". Went to Sorrento, at his sister Cornelia, disguised as a shepherd, and announced the death of his brother to make sure of his affection; returned to Ferrara (1578), went then to Urbino and, after a stopover in other cities, in Turin. In 1579 returned suddenly at Ferrara, while celebrating the third marriage of the duke Alfonso with Margherita Gonzaga: thinking to be neglected, proruppe in escandescenze against the duke, which made him enclosing as crazy at the Sant'Anna hospital, where he stayed for seven long years. In those seven years rate he made an appeal to all its intellectual energies to rehabilitate his dignity of man and his greatness of poet (offense, the latter, from edition incorrect and incomplete of Goffredo, occurred without his knowledge in 1580): composed several of 28 Dialogs and the Apologia in defense of "Gerusalemme liberata", with which intervene in the polemic lit on the priority of Ariosto on rate or vice versa, but to literary occupations of parenthesis of lucidity alternated with moments of tension psychic, frighteningly undermined by hallucinations and anguish, evoked in letters of deep fascination. Released in 1586 through the intercession of Prince Vincenzo Gonzaga, went to Mantua, where, in homage to his new protector, wrote the tragedy Re Torrismondo (1587), recovering the Galealto youth. But the environment of the Court not seduceva more soul disillusioned and tired of the poet and, in October 1587, he resumed his tormenting wanderings, looking for hospitality in convents and in the homes of friends: the shrine of Loreto, the house of Scipione Gonzaga in Rome (where he wrote Rogo amoroso), the monastery of the Olivetan monks in Naples (where he composed the poem The Monte Oliveto), yet the court of Mantua (where, in honor of the Duke Vincenzo Gonzaga, wrote the book of the genealogy of Casa Gonzaga), the house of G. B. Manso in Naples (where undertaken the seven days of the created world), the house of Cardinal Cinzio Aldobrandini, which he devoted, in 1593, the reconstruction of his poem with the title of the Gerusalemme conquistata (the same year date back the tears of the Blessed Virgin and the tears of Christ), the monastery of San Benedetto in Naples (where, in 1594, saw the light the six Discorsi del poema eroico) and finally the convent of Sant'Onofrio in Rome, on the Gianicolo Hill, where, as he wrote in a famous letter, "with the conversation of these divoti fathers", began his "conversation in Heaven". Biography ( Publíus Latin Ovidíus The nose). The Latin poet (Sulmona 43 a. C.-Tomi 17 d. C.). Of Equestrian family came child to Rome for his studies and immediately revealed, at the school of rhetoric, his qualities poetics. It is perfected as s'used, Athens, visited the Asia Minor and Egypt and returning to Rome he entered the literary circle of Messalla Corvino. He had many loves and three wives, the last of which remained faithful to the extreme. He overlaid some public offices of little significance. Dominated rather the worldly environments, where his amorous poetry riscossero great success; was in relations with the greater poets of the time: Properzio, Tibullus, Orazio. Toward the 3 d. C. In the atmosphere of the Augustan age, he turned to the mythological epic and national level with the Metamorphosis and the splendour. It was in the course precisely the composition of the Fasti when befell, in 8 d. C., a notice of the emperor immediately leave Italy for Tomi town on the Black Sea. The reasons for the measure are obscure: the poet speaks of it on several occasions, but always so confused or vague, alludes to the fact of being state with its "abhorrent" poems "master of inconvenient adulterers", and of having assisted unwisely to a "guilt" in a stately home; certainly a manual as the Ars Amatoria contrasted with the action moralistic and national restoration pursued by the emperor. A year after Ovid sbarcava to tomes, seaside village between the barbarians and ice. Poetò still: laments, petitions more than anything else in the hope to obtain the withdrawal of the decree of Augustus, but unnecessarily, and Tomi the conquered death. The works The production of Ovid has reached us almost the entire. Before his work of teenager were the Amores (Love), collection of elegies in five books, then reduced to three, in honor of a Corinna, Greek name probably a fictitious character. Almost simultaneously to the Amores were composed the Heroides (Epistulae), collection of twenty-one imaginary letters: the first fifteen are written in the form of lamentation from heroines of myth and history to their lovers, the last six constitute three pairs, letters of heroes their women and answers to these latter. The culminating moment of the elegy erotica is the subsequent Ars Amatoria, a poem instructive in three books on how man can conquer the woman and keep it, and how the woman can be loved. The contrast between the commitment of the art and the frivolity of matter communicates an intelligent brio at work to which followed the short booklet (little more than eight hundred verses) of Remedia amoris, on ways to get rid of a woman or a passion burdensome, and an elegiac poem, you have a hundred verses, on cosmetics of feminine beauty (Medicamina faciei). The subsequent Metamorphosis are a vast poem in 15 books, in esametri, comprising approximately two hundred tales of mythological trasmutazioni (men mutated in animals or plants), a reproduced from the other in a relentless proliferation. The theme of the transformation had already affected the alessandrini; it was the vision of an unstable world, a reality in perpetual change. The restless personality of Ovid if he felt attracted, as well as its inspiration multiform, its visual imagination and his poetic Art, eminently representative, capable and tempted by the most difficult situations. The Metamorphosis are his masterpiece: the success in many of these episodes, in the continuous variation of the same theme, test his poetic genius, but together it indicates the limit in an art entirely exterior. In a series of episodes is also constituted the last and interrupted Opera Romana of Ovid, the splendour, in which the poet was proposed to sing systematically, in 12 books in distici elegiac insertions, feasts of the twelve months of the year; could not write that six, from January to June, before the exile. To Tomi Ovid put together two other collections of elegies, the five books of Tristia, a series of letters without indications of the recipient in which from 8 to 12, described the history of his condemnation, its bitterness and its desperation for solitude and remoteness of Tomi; they were followed by the 4 books of Epistulae ex Ponto, not different in tone from the first, but more sluggish, facing each in a particular character. Conclude the production ovidiana invective Ibis and a poem on fishing and on fish (Halieutica), of which there remain esametri 135. The luck of Ovid in the centuries was immense since the imperial age; in the Middle Ages he was, together with Virgilio, the classic more read and imitated. Readings of Ovid is nurtured Dante, Petrarca, Boccaccio, Chaucer, the poets of the Renaissance. Sannazaro, Boiardo, Ariosto, Tasso ne drew more than one reason or erotic idyllic; Ovid was among the favorite readings of Shakespeare and his mannerism was a component of the taste of the baroque age; Góngora and Marino it felt strongly the suggestion, as well as later heard him congenial D'Annunzio. Biography ( Publíus Latin Ovidíus The nose). The Latin poet (Sulmona 43 a. C.-Tomi 17 d. C.). Of Equestrian family came child to Rome for his studies and immediately revealed, at the school of rhetoric, his qualities poetics. It is perfected as s'used, Athens, visited the Asia Minor and Egypt and returning to Rome he entered the literary circle of Messalla Corvino. He had many loves and three wives, the last of which remained faithful to the extreme. He overlaid some public offices of little significance. Dominated rather the worldly environments, where his amorous poetry riscossero great success; was in relations with the greater poets of the time: Properzio, Tibullus, Orazio. Toward the 3 d. C. In the atmosphere of the Augustan age, he turned to the mythological epic and national level with the Metamorphosis and the splendour. It was in the course precisely the composition of the Fasti when befell, in 8 d. C., a notice of the emperor immediately leave Italy for Tomi town on the Black Sea. The reasons for the measure are obscure: the poet speaks of it on several occasions, but always so confused or vague, alludes to the fact of being state with its "abhorrent" poems "master of inconvenient adulterers", and of having assisted unwisely to a "guilt" in a stately home; certainly a manual as the Ars Amatoria contrasted with the action moralistic and national restoration pursued by the emperor. A year after Ovid sbarcava to tomes, seaside village between the barbarians and ice. Poetò still: laments, petitions more than anything else in the hope to obtain the withdrawal of the decree of Augustus, but unnecessarily, and Tomi the conquered death. The works The production of Ovid has reached us almost the entire. Before his work of teenager were the Amores (Love), collection of elegies in five books, then reduced to three, in honor of a Corinna, Greek name probably a fictitious character. Almost simultaneously to the Amores were composed the Heroides (Epistulae), collection of twenty-one imaginary letters: the first fifteen are written in the form of lamentation from heroines of myth and history to their lovers, the last six constitute three pairs, letters of heroes their women and answers to these latter. The culminating moment of the elegy erotica is the subsequent Ars Amatoria, a poem instructive in three books on how man can conquer the woman and keep it, and how the woman can be loved. The contrast between the commitment of the art and the frivolity of matter communicates an intelligent brio at work to which followed the short booklet (little more than eight hundred verses) of Remedia amoris, on ways to get rid of a woman or a passion burdensome, and an elegiac poem, you have a hundred verses, on cosmetics of feminine beauty (Medicamina faciei). The subsequent Metamorphosis are a vast poem in 15 books, in esametri, comprising approximately two hundred tales of mythological trasmutazioni (men mutated in animals or plants), a reproduced from the other in a relentless proliferation. The theme of the transformation had already affected the alessandrini; it was the vision of an unstable world, a reality in perpetual change. The restless personality of Ovid if he felt attracted, as well as its inspiration multiform, its visual imagination and his poetic Art, eminently representative, capable and tempted by the most difficult situations. The Metamorphosis are his masterpiece: the success in many of these episodes, in the continuous variation of the same theme, test his poetic genius, but together it indicates the limit in an art entirely exterior. In a series of episodes is also constituted the last and interrupted Opera Romana of Ovid, the splendour, in which the poet was proposed to sing systematically, in 12 books in distici elegiac insertions, feasts of the twelve months of the year; could not write that six, from January to June, before the exile. To Tomi Ovid put together two other collections of elegies, the five books of Tristia, a series of letters without indications of the recipient in which from 8 to 12, described the history of his condemnation, its bitterness and its desperation for solitude and remoteness of Tomi; they were followed by the 4 books of Epistulae ex Ponto, not different in tone from the first, but more sluggish, facing each in a particular character. Conclude the production ovidiana invective Ibis and a poem on fishing and on fish (Halieutica), of which there remain esametri 135. The luck of Ovid in the centuries was immense since the imperial age; in the Middle Ages he was, together with Virgilio, the classic more read and imitated. Readings of Ovid is nurtured Dante, Petrarca, Boccaccio, Chaucer, the poets of the Renaissance. Sannazaro, Boiardo, Ariosto, Tasso ne drew more than one reason or erotic idyllic; Ovid was among the favorite readings of Shakespeare and his mannerism was a component of the taste of the baroque age; Góngora and Marino it felt strongly the suggestion, as well as later heard him congenial D'Annunzio.