The Greatest Poem You’ve Never Heard Of
Milton's inspiration for Paradise Lost
When John Milton set out to write his epic poem Paradise Lost, he had a clear idea of what he wanted to accomplish:
"that epic form whereof the two poems of Homer, and those other two of Virgil and Tasso, are a diffuse model."
Homer and Virgil are undoubtedly known to all readers today — but Tasso? Who was this third man Milton looked to for inspiration? The only poet he deemed worthy of inclusion alongside the epic bards of antiquity?
Today, we explore the work of the man who influenced Milton arguably more than any other — the Italian, incidentally, who inspired England’s national epic.
It all begins with a trip to Europe…
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Milton’s Travels
Milton’s “grand tour” through Europe in the late 1630s was a formative experience that would shape his outlook for the rest of his life. Fluent in multiple languages, Milton traveled to France and Italy, immersing himself in the cultural and literary heritage of the continent and engaging deeply with the works of Italian poets like Dante, Petrarch, and Tasso.
Milton’s love of the Italian language ran deep, as Italy’s Renaissance legacy offered him a wealth of inspiration — blending classical forms with Christian themes, it provided a perfect model for Milton to express his poetic, political, and theological musings. His admiration for Italy’s poetic traditions led him to compose several sonnets in Italian, and even to declare that Italian poetry could rival the classical works of antiquity.
During his time in Rome and Florence, Milton engaged with scholars and poets who were steeped in the works of Torquato Tasso, whose Gerusalemme Liberata (Jerusalem Delivered) was widely celebrated as a masterpiece. It’s no surprise, then, that Milton’s epic ambition would owe much to this man and his work, both in style and substance.
Tasso and Jerusalem Delivered
Torquato Tasso, born in 1544 in Sorrento, was a literary prodigy. By 18, he had already published the epic poem Rinaldo, which hinted at the talent that would later define his career. When he published Jerusalem Delivered in 1581, he became a household name — the poem was an instant success, and was translated into a plethora of languages all throughout Europe.
Jerusalem Delivered is a poetic retelling of the First Crusade, blending factual historical events with mythological and fantastical elements. The poem’s central narrative follows Godfrey of Bouillon and the Christian army, who seek to capture Jerusalem and deliver it from Muslim rule.
Along the way, a tapestry of characters make for thrilling side-quests and a heightening of the drama. There’s the fiery and errant knight Rinaldo, the seductive sorceress Armida, and the Muslim warrior Clorinda — whose eventual conversion, baptism, and death all take place near simultaneously, making for one of the most heart-wrenching episodes in the poem.
Thematically, Jerusalem Delivered explores the conflict between duty and passion, the interplay of divine providence and human free will, and the importance of adhering to one’s role within the hierarchy of the ecclesia militans, the “church militant” — ie., the faithful who are living on earth.
Combining the grandeur of Homeric epics with a distinctly Christian worldview, Tasso’s ability to weave together action, romance, and spiritual reflection made the poem a touchstone for poets across Europe. It is with good reason, therefore, that Milton lists him alongside Homer and Virgil as one of the primary models for his Paradise Lost.
Parallels with Paradise Lost
The influence of Jerusalem Delivered on Paradise Lost is evident in both thematic parallels and stylistic echoes. For example, striking similarities can be found in the portrayal of fallen figures.
In Book II of Paradise Lost, Satan convenes a council of demons in Pandemonium, where they debate their next course of action.
The speeches delivered by Satan and his followers bear a strong resemblance to the rhetoric of the pagan warriors in Jerusalem Delivered — both explore the power of persuasion and the allure of rebellion, and specific phrases employed by Milton’s demons seem lifted directly off the page of Tasso.
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