brilliant of mortal careers; while Byron's advantages of birth and
of fortune were balanced by keenest suffering. We must confess that
when bidden, in 1849, to write an overture for Goethe's drama, we
were more immediately inspired by Byron's reverential pity for the
shades of the great man, which he invoked, than by the work of the
German poet. Nevertheless Byron, in his picture of Tasso in prison,
was unable to add to the remembrance of his poignant grief, so
nobly and eloquently uttered in his 'Lament,' the thought of the
'Triumph' that a tardy justice gave to the chivalrous author of
'Jerusalem Delivered.' We have sought to mark this dual idea in the
very title of our work, and we should be glad to have succeeded in
pointing this great contrast,--the genius who was misjudged during
his life, surrounded, after death, with a halo that destroyed his
enemies. Tasso loved and suffered at Ferrara; he was avenged at
Rome; his glory still lives in the folk-songs of Venice. These
three elements are inseparable from his immortal memory. To
represent them in music, we first called up his august spirit as he
still haunts the waters of Venice. Then we beheld his proud and
melancholy figure as he passed through the festivals of Ferrara
where he had produced his master-works. Finally we followed him to
Rome, the eternal city, that offered him the crown and glorified in
him the martyr and the poet.

"_Lamento e Trionfo_: Such are the opposite poles of the destiny
of poets, of whom it has been justly said that if their lives are
sometimes burdened with a curse, a blessing is never wanting over
their grave. For the sake not merely of authority, but the
distinction of historical truth, we put our idea into realistic
form in taking for the theme of our musical poem the motive with
which we have heard the gondoliers of Venice sing over the waters