Chapter IX: St. Onofrio and Tasso (3)

At first Tasso took up his abode at the court of the Duke of Mantua, whose son, Vincenzo Gonzaga, had been the principal instrument in his release, on the occasion of his marriage with the sister of Alfonso of Ferrara. This Vincenzo Gonzaga is shown by the light of history in two opposite characters: as the generous friend and patron of Tasso, and as the pupil of the Admirable Crichton, who in a midnight brawl slew his tutor in circumstances of the utmost baseness and treachery. For a while Tasso was treated with great kindness at Mantua, but, the father dying, the son no sooner ascended the ducal throne than, with the capriciousness peculiar to Italian princes, he turned his back upon the poet whom he had formerly befriended. The incident I have mentioned would have prepared us for this dastardly conduct; the evil side of his nature, which was kept in abeyance during his political pupilage, assuming the predominance on his accession to power. Tasso's proud spirit could not endure the neglect of his once ardent friend, and he set out again into the cold inhospitable world, imploring in his great poverty from a former patron the loan of ten scudi, to pay the expenses of his journey to Rome. On the way he turned aside to make a pilgrimage to Loretto, in order to satisfy that earnest religious feeling which had been the inspiration of his genius, but the bane of his life. The searching scrutinies and the solemn acquittals of the inquisitors of Bologna, Ferrara, and the great tribunal of Rome itself, had not satisfied his morbid mind. And he thought that he might get that peace of conscience which nothing else could give by a visit to the Casa Santa--the house of the Virgin Mary at Loretto. Worn out by the long journey, which he made in the old fashion on foot, he knelt in prayer before the magnificent shrine; and thus, admitted as it were within the domestic enclosure of the holy household, he felt that the Blessed Virgin had given him that calmness and repose of heart which he had not known since he had prayed as a boy beside his mother's knee. Strengthened by the successful accomplishment of his vow, he went on to Rome; but the stern Sixtus V., who was now upon the Papal throne, was too much occupied with the architectural reconstruction of Rome, and with the suppression of brigandage in the Papal States, to bestow any attention upon literature; and Tasso had lost whatever energy he once possessed to assert his claims to recognition among the multitude of sycophants at the Vatican.

Sick at heart, he left the imperial city, and directed his steps to Naples, in the hope that on the spot he might succeed in recovering his father's possession and his mother's dowry. But here, too, the same ill-fortune that had hitherto dogged his steps attended him. The lawsuit which he instituted, though it promised well at first, proved a will-o'-the-wisp, which lured him into the bog of absolute penury. His sister was dead; his mother's relatives, formerly hostile, were now, because of the lawsuit, doubly embittered against him. In his distress he sought refuge in the Benedictine monastery of Monte Oliveto, which is now occupied by the offices of the Municipality of Naples, and the monastery garden converted into a market-place. Here, in one of the finest situations in Naples, commanding one of the loveliest views in the world, and in the congenial society of the monks, his shattered health was recruited, and his mind tranquillised by the beauties of Nature and the exercises of religion. He repaid the kindness of his hosts by writing a poem on the origin of their Order, and by addressing to them one of his best sonnets. Among the visitors who sought him out in this retreat was John Battista Manso, Marquis of Villa, who afterwards became his biographer. This accomplished nobleman, "whose name the friendship and Latin hexameters of Milton have rendered at once familiar and musical to English ears," was by far the kindest and most consistent patron that Tasso ever met with. He loaded him with presents, and showed him the most delicate and thoughtful attentions during Tasso's visit at his beautiful villa on the seashore near Naples. He took him with him to his tower of Bisaccio, where he remained all October and November, spending his days, with great advantage to his health, in hunting, and his nights in music and dancing, taking special delight in the marvellous performances of the improvisatori. Milton's acquaintance with Manso may be regarded as one of the most fortunate incidents of his foreign travels, inasmuch as his conversations about Tasso are supposed to have suggested to him the design of writing an epic work like the _Gerusalemme_; and indeed Milton is supposed to have borrowed some of his ideas for _Paradise Lost_ from the _Sette Giornate, or Seven Days of Creation_, a fragmentary poem in blank verse, which Tasso began under the roof of his friend at Naples. This work is now very little known, but it is worthy of being read, if only for the lofty dignity of its style, and the beauty of some of its descriptive parts, particularly the creation of light on the first day, and of the firmament on the second, and the episode of the Phoenix on the fifth. Its association with Milton's far grander work, as literary twins laid for a while in the same cradle, will always invest it with deep interest to the student.

Tasso occupied himself at the same time with an altered version of his great poem, which he called the _Gerusalemme Conquistata_. He was induced to undertake this work in order to triumph over his truculent critics, the Della Cruscans, who had condemned the former version. In the Imperial Library at Vienna is preserved the manuscript of this version, with its numerous alterations and erasures, showing how laborious the task of remodelling must have been. He suppressed the touching incident of Olinda and Sophronia. He changed the name of Rinaldo to Riccardo; and ruthlessly swept his pen through all the flatteries, direct and indirect, which he had originally bestowed upon the house of Este. There is hardly a single stanza that is not changed. But in the process of revision he deprived his poem of all life. Religious mysticism has been substituted for the refined chivalry of the Crusades, and poetry and romance have been sacrificed for classical regularity and religious orthodoxy. To any one familiar with the original, the _Conquistata_ must be regarded as the most melancholy book in any language; a sad monument of a noble genius robbed of its power and depressed by calamity. And it is all the more melancholy that the author himself was utterly unconscious of its defects, and got so enamoured of what he considered his improvements, that he wrote and published a discourse called the _Giudizio_--a cold pedantic work, in which he explained the principles upon which he made his alterations. In vain, however, did the author thus commit literary suicide. His immortal poem had passed beyond the reach of revision, and stamped itself too deeply upon the minds and hearts of his countrymen to be effaced by any after version. And now the _Conquistata_ has sunk into well-merited oblivion, while the _Liberata_--"his youthful poetical sin," as he himself called it--is everywhere admired as one of the great classics of the world.

For nine years Tasso lived after his imprisonment. But his free life was only a little less burdensome than his prison one. With impaired health and extinguished hope, and only the wreck of his great intellect, he wandered a homeless pilgrim from court to court, drawn like a moth to the brilliant flame that had wrought his ruin. Well would it have been for him had he settled down to some quiet independent pursuit that would have taken him away from the atmosphere of court life altogether, such as the Professorship of Poetry and Ethics which had been offered to him by the Genoese Academy. But the habits of a whole lifetime could not now be given up. His education and training had fitted him for no other mode of life. Without the patronage of the great, literature in those days had not a chance of success; and a thousand incidents in the life of Tasso serve to show that "genius was considered the property, not of the individual, but of his patron"; and with petty meanness was the reward allotted for this appropriation dealt out. His experience of the favour of princes at this period was only a repetition of his own earlier one, and that of his father. His patrons, one after another, got tired of him; and yet he persisted in soliciting their favour. From the door of his former friend, Cardinal Gonzaga, at Rome, he was turned away; and as a fever-stricken mendicant he sought refuge in the Bergamese Hospital of that city, founded by a relative of his own, who little thought that it would one day afford an asylum to the most illustrious of his name.

But fate had now discharged its last evil arrow, and began to relent during the two remaining years of his life. The sun that was all day obscured, as it struggled with dark clouds, emerged at last, and made the western sky ablaze with splendour. All over the country nothing was to be heard but the echoes of Tasso's praises. From the fountains of the Adige to the Straits of Messina, in the valleys of Savoy, and in the capitals of Spain and France, his immortal epic was read or recited by the highest and the lowest. Fortunes were made by its sale. The famous bandit Sciarra, who with his troop of robbers had terrified the whole of Southern Italy, hearing that Tasso was at Gaeta, on his journey from Naples to Rome, sent to compliment him, and offer him, not only a free passage, but protection by the way. At Florence, whither he went at the invitation of the Grand Duke of Tuscany, the whole literary society of the place, even including many of the Della Cruscans, showered honours upon him. While at Rome Pope Clement VIII. gave him the most flattering reception, assigned to him an apartment in the Vatican, and an annual income of two hundred scudi. From the representatives of his mother's friends at Naples he was also offered an annuity of two hundred ducats, and a considerable sum in hand, on condition of stopping the lawsuit. Thus furnished with what he had vainly looked for all his life, the means of a comfortable subsistence, his closing days promised a happiness to which he had hitherto been a stranger. But the gifts of fortune were brought to him with sad auguries, like the soft sunny smiles of September skies, which gild the fading leaves with a mockery of May. Tasso came to Rome in November. But the state of his health was so deplorable that he could not remain with safety in the room assigned to him in the Vatican. It was thought, therefore, that the elevated position and salubrious air, as well as the quiet life of the monastery of St. Onofrio, not far off on the same side of the Tiber, would be more suitable for his restoration. Accordingly, Cardinal Cynthio Aldobrandini, nephew of Clement VIII., who had befriended him on many occasions, brought him to St. Onofrio in his own carriage. And as his weary steps crossed the threshold, he said to the monks, who received him with pitying looks, "I come to die among you."

Whenever he was able to go out, he spent the last days of his life in the garden of the monastery. There he sat under the shadow of the aged oak that has since become historical; and as he watched the sunset of his life, he would gaze upon the mighty ruins and the glorious view stretching before him with that inspired vision which creates half the beauty it beholds, and with that enhanced appreciation caused by the prospect of the coming darkness which would hide it for ever from his sight. We love to think of the poet in this quiet resting-place, where the noises of the great world reached him only in subdued murmurs. Heaven was above him, and the world beneath. The memory of his wrongs and his ambitions alike vanished in the shadow cast before by his approaching death. Alfonso and Ferrara faded away upon the horizon of eternity; even the fame of his _Gerusalemme_, the great object for which he had lived, had become utterly indifferent to him. In the monastery of St. Onofrio, a bent, sorrow-stricken man, old before his time, joining with the monks in the duties of religion, Tasso appeals more powerfully to our feelings than when in the full flush of youth and happiness he shone the brightest star in the royal court of Alfonso.

Awakening to the sense of the great loss that Italy was about to sustain in his death, his friends and admirers proposed that the Pope should confer upon him at the Capitol the laurel wreath that had crowned the brow of Petrarch. But the weather during the winter proved singularly unpropitious for such a ceremony. Rain fell almost every day, and constant sirocco winds depressed the spirits of the people and prevented all outdoor enjoyments. And thus the season wore on till April dawned with the promise of brighter skies, and the day was fixed, and all the _élite_ of Rome and of the chief cities of Italy were invited to attend the coronation. Extensive preparations were made; the whole city was in a flutter of excitement, and the people looked forward to a holiday such as Rome had not seen since the days of the Cæsars. But by this time the poet was dying, fever-wasted, in his lonely cell. He could see from his window, as he lay propped up with pillows on his narrow couch, across the river and its broad valley crowded with houses, the slender campanile of Michael Angelo ascending from the Capitoline Hill, marking the spot where at the moment the people were busy preparing for the magnificent ceremony of the morrow. But not for him was the triumph; it came too late. "Tomorrow," he said, "I shall be beyond the reach of all earthly honour." He received the last rites of the Church from the hands of the diocesan, and passed quietly away with the unfinished sentence upon his lips, "Into thy hands, O Lord," while the concluding strains of the vesper hymn were chanted by the monks. And they who came on the morrow, to summon him to his coronation, found him in the sleep of death. The laurel wreath that was meant for his brow was laid upon his coffin, as it was carried on the very day of his intended coronation, with great pomp, cardinals and princes bearing up the pall, and deposited in the neighbouring church of the monastery. Ever since, the anniversary of his death has been religiously kept by the monks of St. Onofrio. They throw open on that day, the 25th of April, the monastery and garden to the general public; ladies are freely admitted, and a festival is observed, during which portions of the poet's writings are read, his relics exhibited, and his tomb wreathed with flowers.

Tasso died, like Virgil his model, in his fifty-first year. Short and chequered and full of trouble as was his life, it is amazing what an immense amount of literary work he accomplished. Since the publication of his _Rinaldo_, in his seventeenth year, he never ceased writing, even in the most unfavourable circumstances. Of his prose and poetical works no less than twenty-five volumes remain to us. These works are all rich in biographical materials. They show an ideal tenderness of feeling, an intense love for everything beautiful, and a deep piety, not only of sentiment but of duty. They are specially interesting to us as links connecting the ancient world with the modern. We can trace the influence of Tasso's genius in very varied quarters. He not only gave a new impulse to the literature of his own country, but even inspired the artistic productions of the day. The most beautiful passages of Spenser's _Faerie Queen_ were suggested by his pastoral poetry; while his chivalrous epic was to Milton at once the incentive and the model of his own immortal work. It is probable that the _New Heloïse_ of Rousseau, and the tragedy of _Zaire_ by Voltaire, would not have been written had not Tasso invested the subject of romantic love and of the Crusades with such a deep interest to the authors. We of this age may miss in Tasso's poetical works the dramatic force to which we are accustomed in such productions; but we acknowledge the spell which the lyrical element that pervades them all, and towards which Tasso's genius was most strongly bent, casts over us. His own personal history strikingly illustrates the vanity of a life spent in dependence upon princes. But fortunately the lesson is no longer needed; for a wide and intelligent constituency of readers all over the world now afford the patronage to literature which was formerly the special privilege of single individuals favoured by rank or fortune. Both to authors and readers this emancipation has been productive of the happiest results.