t age for its splendor, did not prevent
his prosecuting his poetic studies with zeal; for it appears from his
will, quoted by Mr. Stebbing, that, at his departure for France he had
written a considerable portion of the "Jerusalem," besides a variety
of minor pieces. His reputation was already high at the court of
France, where he was received by Charles IX. with distinguished
attention. But he perceived, or fancied that he saw, a change in the
cardinal's demeanor toward him, and, impatient of neglect, begged
leave to return to Italy. In 1572 he was at Rome with the Cardinal
Ippolito d'Este. In the same year he entered the service of the Duke
of Ferrara, and resumed with zeal the completion and correction of the
"Jerusalem."

In 1573, Tasso wrote his beautiful pastoral drama "Aminta." This new
production added greatly to his reputation. He chose simple Nature for
his model; and succeeded admirably in the imitation of her. The
"Jerusalem Delivered" was completed in 1575. Tasso submitted it to the
criticism of the most learned men of that age. The great confusion
which prevailed in the remarks of his critics caused him extraordinary
uneasiness. To answer their objections, he wrote the "Lettere
Poetiche," the best key to the true interpretation of his poem.

[Illustration: Tasso and the Two Eleanors.]

During 1575, Tasso visited Pavia, Padua, Bologna, and Rome, and in
1576 returned to Ferrara. His abode there never was a happy one; for
his talents, celebrity, and the favor in which he was held, raised up
enemies, who showed their spleen in petty underminings and annoyances,
to which the poet's susceptible temper lent a sting. He was attracted,
however, by the kindness of the duke and the society of the beautiful
and accomplished Eleanora, the duke's sister, for whom the poet
ventured, it is said, to declare an affection which, according to some
historians, did not remain unrequited. The portrait of Olinda, in the
beautiful episode which relates her history, is generally understood
to have been designed after this living model; while some have
imagined that Tasso himself is not less clearly pictured in the
description of her lover, Sofronio. There was also another Eleanor, a
lady of the court with whom the poet for a while imagined himself in
love. But about this time, whether from mental uneasiness, or from
constitutional causes, his conduct began to be marked by a morbid
irritability allied to madness. The "Jerusalem" w