Her favourite books were Tasso, Atala and Paul et Virginie.
The panegyrics of Aldus Manutius require to be received with some caution, since he was given to exaggerating the merits of his friend, and uses almost the same language about a young Pole named Stanilaus Niegosevski; see John Black's Life of Torquato Tasso, ii.
Shortly after this, in 1564, Tasso was a student there, and was tried for writing a satirical poem.
The list of professors and alumni is long and illustrious, containing, among others, the names of Bembo, Sperone Speroni, Veselius, Acquapendente, Galileo, Pomponazzi, Pole, Scaliger, Tasso and Sobieski.
The calm beauty of Greek tragedy is seen in the new iambic version of Iphigenie auf Tauris (1787); the classicism of the Renaissance gives the ground-tone to the wonderful drama of Torquato Tasso (1790), in which the conflict of poetic genius with the prosaic world is transmuted into imperishable poetry.
Tasso, and the edition of the Schriften in which it was to appear, had still to be completed on his return from Italy; the Riimische Elegien, perhaps the most Latin of all his works, were published in 1795, and the Venetianische Epigramme, the result of the second visit to Italy, in 1796.
Faust is Germany's most national drama, and it remains perhaps for the theatre of the future to prove itself capable of popularizing psychological masterpieces like Tasso and Iphigenie.
Kern, Goethes Tasso (1890); J.
Anna, where Tasso was confined during his attack of insanity (1579-1586).
He raised the glory of Ferrara to its highest point, and was the patron of Tasso and Guarini, favouring, as the princes of his house had always done, the arts and sciences.
Melodious, effective, readily intelligible, with a dash of the commonplace, Les Preludes, Tasso, Mazeppa and Fest-Kldnge bid for popularity.
His lyrics and his pastoral of Granida are strongly marked by the influence of Tasso and Sannazaro; his later tragedies belong more exactly to the familiar tone of his native country.
In Italian, collections of dialogues, on the model of;Plato, have been composed by Torquato Tasso (1 586), by Galileo (1632), by Galiani (1770), by Leopardi (1825), and by a host of lesser writers.
The subjects of most of his dramas were taken from Latin and Italian poets (Atalanta after Ovid, Lavinia after Virgil, Armida after Tasso); but at least in two dramas, Pavlimir and Tsaptislava, he displayed some originality, taking his themes from Servian national history.