38; his birth and parentage, ii.

5; the _Amadigi_, 7, 11, 18, 35; his youth and marriage, 7; misfortunes, _ib._; exile and poverty, 8; death of his wife, 9; his death, 10, 35; his character, _ib._; his _Floridante_, 35.
-- -Christoforo (cousin of Torquato), ii.

14.
-- -Torquato: his relation to his epoch, ii.

2; to the influences of Italian decadence, 4; his father's position, 6; Torquato's birth, 7; the death of his mother, 9, 15; what Tasso inherited from his father, 11; Bernardo's treatment of his son, _ib._; Tasso's precocity as a child, 12; his early teachers, _ib._; pious ecstasy in his ninth year, 13; with his father in Rome, 14; his first extant letter, 15; his education, 16; with his father at the Court of Urbino, 17; mode of life here, 18; acquires familiarity with Virgil, 19; studies and annotates the _Divina Commedia_, _ib._; metaphysical studies and religious doubts, 20; reaction, _ib._; the appearance of the _Rinaldo_, 21; leaves Padua for Bologna, _ib._; Dialogues on the Art of Poetry, 22, 24, 26; flight to Modena, 22; speculations upon Poetry, 23; Tasso's theory of the Epic, 24; he joins the Academy 'Gli Eterei' at Padua, as 'Il Pentito,' 26; enters the service of Luigi d'Este, 27; life at the Court of Ferrara, 28; Tasso's love-affairs, 31; the problem of his relations with Leonora and Lucrezia d'Este, 32 _sqq._, 48, 51; quarrel with Pigna, 34; his want of tact, _ib._; edits his _Floridante_, 35; visit to Paris, _ib._; the _Gottifredo_ (_Gerusalemme Liberata_), 35, 38, 42, 48, 50; his instructions to Rondinelli, _ib._; life at the Court of Charles IX., 36; rupture with Luigi d'Este, 38; enters the service of Alfonso, Duke of Ferrara, _ib._; renewed relations with Leonora, _ib._; production and success of _Aminta_, 39; relations with Lucrezia d'Este (Duchess of Urbino), _ib._; his letters to Leonora, 41; his triumphant career, _ib._; submits the _Gerusalemme_ to seven censors, 43; their criticisms, _ib._; literary annoyances, 44; discontent with Ferrara, 45; Tasso's sense of his importance, _ib._; the beginning of his ruin, 46; he courts the Medici, 47; action of his enemies at Ferrara, 48; doubts as to his sanity, 49; his dread of the Inquisition, _ib._; persecution by the courtiers, 50; revelation of his love affairs by Maddalo de'Frecci, 51; Tasso's fear of being poisoned, _ib._; outbreak of mental malady, 52; temporary imprisonment, _ib._; estimate of the hypothesis that Tasso feigned madness, 53; his escape from the Convent of S.Francis, 54; with his sister at Sorrento, 55; hankering after Ferrara, 56; his attachment to the House of Este, 57; terms on which he is received back, 58; second flight from Ferrara, 61; at Venice, Urbino, Turin, 63; 'Omero Fuggiguerra,' 64; recall to Ferrara, 65; imprisoned at S.Anna, 66; reasons for his arrest, 67; nature of his malady, 69; life in the hospital, 71; release and wanderings, 73; the _Torrismondo_, _ib._; work on the _Gerusalemme Conquistata_ and the _Sette Giornate_, 75; last years at Naples and Rome, 76; at S.Onofrio, 76; death, 78; imaginary Tassos, 79; condition of romantic and heroic poetry in Tasso's youth, 80; his first essay in poetry, 81; the preface to _Rinaldo_, 82; subject-matter of the poem, 84; its religious motive, 86; Latinity of diction, _ib._; weak points of style, 88; lyrism and idyll, 89; subject of the _Gerusalemme Liberata_, 92; its romance, 94; imitation of Virgil, 97; of Dante, 97, 99; rhetorical artificiality, 100; sonorous verses, 101; oratorical dexterity, 102; similes and metaphors, _ib._; majestic simplicity, 104; the heroine, 106; Tasso, the poet of Sentiment, 108; the _Non so che_, 109 _sq._; Sofronia, Erminia, Clorinda, 109 _sqq._; the Dialogues and the tragedy _Torrismondo_, 113; the _Gerusalemme Conquistata_ and _Le Sette Giornate_, 115, 124; personal appearance of Tasso, 115; general survey of his character, 116 _sqq._; his relation to his age, 120; his mental attitude, 122; his native genius, 124.
TASSONI, Alessandro: his birth, ii.

297; treatment by Carlo Emmanuele, 298; his independent spirit, _ib._; aim at originality of thought, 299; his criticism of Dante and Petrarch, 300; the _Secchia Rapita_: its origin and motive, 301; its circulation in manuscript copies, 302; Tassoni the inventor of heroico-comic poetry, 303; humor and sarcasm in Italian municipal wars, 304; the episode of the Bolognese bucket, _ib._; irony of the _Secchia Rapita_, 306; method of Tassoni's art, _ib._; ridicule of contemporary poets, 307; satire and parody, 308; French imitators of Tasso, 310; episodes of pure poetry, 311; sustained antithesis between poetry and melodiously-worded slang, 312; Tassoni's rank as a literary artist, _ib._ TAXATION, the methods of, adopted by Spanish Viceroys in Italy, i.