Biography The Italian poet (Reggio nell'Emilia 1474-Ferrara 1533). The first of the ten sons of Niccolò (descending from the Noble Bolognese Family transplanted in Ferrara) and Daria Malaguzzi (nobility reggiana) was born in Reggio Emilia, where his father, at the service of Ercole I d'Este, was commander of the garrison; a few years after he returned with his family in Ferrara, from which s the departed rarely. After five years (1489-94) dedicated, reluctantly, to study law, Ariosto began to attend the courses of the humanist Gregorio da Spoleto. On the death of his father (1500), Ludovico was found on his shoulders the responsibility of the large family. At the service of Ercole I, he made some test in the military career (1501-03: commander of Canossa Castle) and then passed to the following of Cardinal Ippolito d'Este. Years fairly quiet for the poet, who composed for the Teatro Ducale two plays in prose, the Cassaria and the Suppositi and began the Furioso. But soon the situation of the Duchy, reluctant to subjection to the state of the Church became, following the events caused by the League of Cambrai, delicate on military and diplomatic; and on the latter was asked for the work of the Ariosto, often sent as a messenger to Julius II: the Decisiveness of the poet is indicated by the fact that the Pope came to minacciarlo of death. Ariosto finally accompanied Alfonso, that after the victory of the French and the Ferraresi on papal troops (Ravenna, 1512) sought to rappacificarsi col Pontiff in his journey to Rome, avventurosamente ended with a disguise and an escape. The prospects of peace opened themselves to the death of Julius II; and having been made pope with the name of Leo X, Giovanni de' Medici (1513), the poet, who had with him friendly relations, flocked to Rome with the hope of some task more peaceful and brilliant, but remained disappointed. On the return journey the Ariosto knew Florence Alessandra Benucci, wife of Tito Strozzi: was the one love of his life. He married very late (perhaps in 1528) The woman was widowed in 1505; but secretly, for not losing the usufruct of the inheritance lasciatale by her husband; did not have children (Giovambattista and his favorite Virginio were the fruit of previous, humble loves of Ariosto). When, in 1517, Cardinal Ippolito departed for Hungary, Ariosto, who had already had disagreements with him, refused to follow him, and spent the next year in the service of Duke Alfonso: accommodation more quiet, which does not put at risk his precarious health and that allowed him to wait, surrounded by family affections, the reworking of the Orlando furioso (the first edition was output in 1516), which ripubblicò, correct, in 1521. In 1520 Ariosto had sent to Pope Leo X, gliel that had requested, the comedy The Necromancer; while the one entitled the students, also of those years, remained unfinished (was completed by his brother Gabriele with the title The school). With the 1522 began for the Ariosto a new period moved: at the request of an assignment profitable, Duke Alfonso sent him commissioner in Garfagnana, recently returned, following a revolt, under the dominion of Ferrara. The poet remained there until 1525, engaging in the administrative organization of the region, in the solution of the quarrels between the old feudal lords, in the repression of banditry with energy and humanity documented by the letters. After 1525, finally to Ferrara, Ariosto could wait with more calm to the literary work: repair in verses of the Cassaria and of the Suppositi, composition of Lena (1528), the last and most extensive rehash of the Orlando furioso (1532). He died on 6 July 1533, in "Parva domus" purchased six years before in contrada Mirasole. Minor Works A notebook autograph with corrections and redone, retains the majority of the Latin lyrics of Ariosto, dating for the most part to the youth of the poet (ca. 1494-1504). Some are little more than school exercises; but in others the technique is mature and already appear attitudes and inventions worthy of greater Ariosto. If the latin musa was soon abandoned by the poet and the lyrical vernacular he cultivated for much longer (1493-ca. 1525) and shows in the warm sensuality that pervades her, the deeper assimilation of Latin erotic. In the Cassaria (represented in 1508), the first regular comedy italian, and in the Suppositi (represented in 1509) Ariosto uses the classic procedure of contaminatio: characters and situations of the latin models twisted in a new weft. The other comedies of Ariosto (The Necromancer, Lena, students) have type frames most of the novella and direct references to the contemporary world. Stands out among them the Lena for the complex character which the work is called and the ambiguous situation in which it moves. The seven Satires were composed in tercets between 1517 and 1525, i.e. during the period subsequent to the first edition of the Furioso; they are dedicated to mo' of letters to relatives and family. The tone of the Satires is conversativo: ways family, even proverbial, jokes lovable, so to remember, more that the Satires, the Epistles oraziane; but, in substance, the satire of the Ariosto is far from that of Orazio, dictated as it is by a moral resentment experienced and suffered so much from wisdom hedonistic. Do not fool attitudes rinunciatari, the praises to the abitudinarietà serena and meditative sedentary life: they have a dialectical function (show in the flap on the waivers the firm determination of the Ariosto to protect your work of poet) and a controversy (facing the myriad forms of careerism and ambition). Under the surface of bonarietà v is an energy ethic that Ariosto, a time and place, knew how to put in act. And I am index letters (over 200), so close to the Satires for the attitude in which it presents the Ariosto: not intended for printing, they are written in concrete opportunities and with bare language and effective. Biography The Italian poet (Reggio nell'Emilia 1474-Ferrara 1533). The first of the ten sons of Niccolò (descending from the Noble Bolognese Family transplanted in Ferrara) and Daria Malaguzzi (nobility reggiana) was born in Reggio Emilia, where his father, at the service of Ercole I d'Este, was commander of the garrison; a few years after he returned with his family in Ferrara, from which s the departed rarely. After five years (1489-94) dedicated, reluctantly, to study law, Ariosto began to attend the courses of the humanist Gregorio da Spoleto. On the death of his father (1500), Ludovico was found on his shoulders the responsibility of the large family. At the service of Ercole I, he made some test in the military career (1501-03: commander of Canossa Castle) and then passed to the following of Cardinal Ippolito d'Este. Years fairly quiet for the poet, who composed for the Teatro Ducale two plays in prose, the Cassaria and the Suppositi and began the Furioso. But soon the situation of the Duchy, reluctant to subjection to the state of the Church became, following the events caused by the League of Cambrai, delicate on military and diplomatic; and on the latter was asked for the work of the Ariosto, often sent as a messenger to Julius II: the Decisiveness of the poet is indicated by the fact that the Pope came to minacciarlo of death. Ariosto finally accompanied Alfonso, that after the victory of the French and the Ferraresi on papal troops (Ravenna, 1512) sought to rappacificarsi col Pontiff in his journey to Rome, avventurosamente ended with a disguise and an escape. The prospects of peace opened themselves to the death of Julius II; and having been made pope with the name of Leo X, Giovanni de' Medici (1513), the poet, who had with him friendly relations, flocked to Rome with the hope of some task more peaceful and brilliant, but remained disappointed. On the return journey the Ariosto knew Florence Alessandra Benucci, wife of Tito Strozzi: was the one love of his life. He married very late (perhaps in 1528) The woman was widowed in 1505; but secretly, for not losing the usufruct of the inheritance lasciatale by her husband; did not have children (Giovambattista and his favorite Virginio were the fruit of previous, humble loves of Ariosto). When, in 1517, Cardinal Ippolito departed for Hungary, Ariosto, who had already had disagreements with him, refused to follow him, and spent the next year in the service of Duke Alfonso: accommodation more quiet, which does not put at risk his precarious health and that allowed him to wait, surrounded by family affections, the reworking of the Orlando furioso (the first edition was output in 1516), which ripubblicò, correct, in 1521. In 1520 Ariosto had sent to Pope Leo X, gliel that had requested, the comedy The Necromancer; while the one entitled the students, also of those years, remained unfinished (was completed by his brother Gabriele with the title The school). With the 1522 began for the Ariosto a new period moved: at the request of an assignment profitable, Duke Alfonso sent him commissioner in Garfagnana, recently returned, following a revolt, under the dominion of Ferrara. The poet remained there until 1525, engaging in the administrative organization of the region, in the solution of the quarrels between the old feudal lords, in the repression of banditry with energy and humanity documented by the letters. After 1525, finally to Ferrara, Ariosto could wait with more calm to the literary work: repair in verses of the Cassaria and of the Suppositi, composition of Lena (1528), the last and most extensive rehash of the Orlando furioso (1532). He died on 6 July 1533, in "Parva domus" purchased six years before in contrada Mirasole. Minor Works A notebook autograph with corrections and redone, retains the majority of the Latin lyrics of Ariosto, dating for the most part to the youth of the poet (ca. 1494-1504). Some are little more than school exercises; but in others the technique is mature and already appear attitudes and inventions worthy of greater Ariosto. If the latin musa was soon abandoned by the poet and the lyrical vernacular he cultivated for much longer (1493-ca. 1525) and shows in the warm sensuality that pervades her, the deeper assimilation of Latin erotic. In the Cassaria (represented in 1508), the first regular comedy italian, and in the Suppositi (represented in 1509) Ariosto uses the classic procedure of contaminatio: characters and situations of the latin models twisted in a new weft. The other comedies of Ariosto (The Necromancer, Lena, students) have type frames most of the novella and direct references to the contemporary world. Stands out among them the Lena for the complex character which the work is called and the ambiguous situation in which it moves. The seven Satires were composed in tercets between 1517 and 1525, i.e. during the period subsequent to the first edition of the Furioso; they are dedicated to mo' of letters to relatives and family. The tone of the Satires is conversativo: ways family, even proverbial, jokes lovable, so to remember, more that the Satires, the Epistles oraziane; but, in substance, the satire of the Ariosto is far from that of Orazio, dictated as it is by a moral resentment experienced and suffered so much from wisdom hedonistic. Do not fool attitudes rinunciatari, the praises to the abitudinarietà serena and meditative sedentary life: they have a dialectical function (show in the flap on the waivers the firm determination of the Ariosto to protect your work of poet) and a controversy (facing the myriad forms of careerism and ambition). Under the surface of bonarietà v is an energy ethic that Ariosto, a time and place, knew how to put in act. And I am index letters (over 200), so close to the Satires for the attitude in which it presents the Ariosto: not intended for printing, they are written in concrete opportunities and with bare language and effective. 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 The Italian poet (Reggio nell'Emilia 1474-Ferrara 1533). The first of the ten sons of Niccolò (descending from the Noble Bolognese Family transplanted in Ferrara) and Daria Malaguzzi (nobility reggiana) was born in Reggio Emilia, where his father, at the service of Ercole I d'Este, was commander of the garrison; a few years after he returned with his family in Ferrara, from which s the departed rarely. After five years (1489-94) dedicated, reluctantly, to study law, Ariosto began to attend the courses of the humanist Gregorio da Spoleto. On the death of his father (1500), Ludovico was found on his shoulders the responsibility of the large family. At the service of Ercole I, he made some test in the military career (1501-03: commander of Canossa Castle) and then passed to the following of Cardinal Ippolito d'Este. Years fairly quiet for the poet, who composed for the Teatro Ducale two plays in prose, the Cassaria and the Suppositi and began the Furioso. But soon the situation of the Duchy, reluctant to subjection to the state of the Church became, following the events caused by the League of Cambrai, delicate on military and diplomatic; and on the latter was asked for the work of the Ariosto, often sent as a messenger to Julius II: the Decisiveness of the poet is indicated by the fact that the Pope came to minacciarlo of death. Ariosto finally accompanied Alfonso, that after the victory of the French and the Ferraresi on papal troops (Ravenna, 1512) sought to rappacificarsi col Pontiff in his journey to Rome, avventurosamente ended with a disguise and an escape. The prospects of peace opened themselves to the death of Julius II; and having been made pope with the name of Leo X, Giovanni de' Medici (1513), the poet, who had with him friendly relations, flocked to Rome with the hope of some task more peaceful and brilliant, but remained disappointed. On the return journey the Ariosto knew Florence Alessandra Benucci, wife of Tito Strozzi: was the one love of his life. He married very late (perhaps in 1528) The woman was widowed in 1505; but secretly, for not losing the usufruct of the inheritance lasciatale by her husband; did not have children (Giovambattista and his favorite Virginio were the fruit of previous, humble loves of Ariosto). When, in 1517, Cardinal Ippolito departed for Hungary, Ariosto, who had already had disagreements with him, refused to follow him, and spent the next year in the service of Duke Alfonso: accommodation more quiet, which does not put at risk his precarious health and that allowed him to wait, surrounded by family affections, the reworking of the Orlando furioso (the first edition was output in 1516), which ripubblicò, correct, in 1521. In 1520 Ariosto had sent to Pope Leo X, gliel that had requested, the comedy The Necromancer; while the one entitled the students, also of those years, remained unfinished (was completed by his brother Gabriele with the title The school). With the 1522 began for the Ariosto a new period moved: at the request of an assignment profitable, Duke Alfonso sent him commissioner in Garfagnana, recently returned, following a revolt, under the dominion of Ferrara. The poet remained there until 1525, engaging in the administrative organization of the region, in the solution of the quarrels between the old feudal lords, in the repression of banditry with energy and humanity documented by the letters. After 1525, finally to Ferrara, Ariosto could wait with more calm to the literary work: repair in verses of the Cassaria and of the Suppositi, composition of Lena (1528), the last and most extensive rehash of the Orlando furioso (1532). He died on 6 July 1533, in "Parva domus" purchased six years before in contrada Mirasole. Minor Works A notebook autograph with corrections and redone, retains the majority of the Latin lyrics of Ariosto, dating for the most part to the youth of the poet (ca. 1494-1504). Some are little more than school exercises; but in others the technique is mature and already appear attitudes and inventions worthy of greater Ariosto. If the latin musa was soon abandoned by the poet and the lyrical vernacular he cultivated for much longer (1493-ca. 1525) and shows in the warm sensuality that pervades her, the deeper assimilation of Latin erotic. In the Cassaria (represented in 1508), the first regular comedy italian, and in the Suppositi (represented in 1509) Ariosto uses the classic procedure of contaminatio: characters and situations of the latin models twisted in a new weft. The other comedies of Ariosto (The Necromancer, Lena, students) have type frames most of the novella and direct references to the contemporary world. Stands out among them the Lena for the complex character which the work is called and the ambiguous situation in which it moves. The seven Satires were composed in tercets between 1517 and 1525, i.e. during the period subsequent to the first edition of the Furioso; they are dedicated to mo' of letters to relatives and family. The tone of the Satires is conversativo: ways family, even proverbial, jokes lovable, so to remember, more that the Satires, the Epistles oraziane; but, in substance, the satire of the Ariosto is far from that of Orazio, dictated as it is by a moral resentment experienced and suffered so much from wisdom hedonistic. Do not fool attitudes rinunciatari, the praises to the abitudinarietà serena and meditative sedentary life: they have a dialectical function (show in the flap on the waivers the firm determination of the Ariosto to protect your work of poet) and a controversy (facing the myriad forms of careerism and ambition). Under the surface of bonarietà v is an energy ethic that Ariosto, a time and place, knew how to put in act. And I am index letters (over 200), so close to the Satires for the attitude in which it presents the Ariosto: not intended for printing, they are written in concrete opportunities and with bare language and effective. 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".