This essay examines a subject largely ignored in Tasso criticism: the role of supernatural powers in the epic action of the Liberata. Tasso introduces divine characters, notably God and Satan, at several crucial moments. The presence in the epic plot of an intervening God who is at once partisan and omnipotent brings to the fore certain narrative and theological problems; these problems are not Tasso's alone, but inhere in the attempt to construct a Christian supernatural on the classical epic model. The divine action of the Liberata sheds light on the religious ideology of the poem, and on an issue of broader significance: the uneasy marriage of monotheism and epic narrative. Critics who have written about the divine action in the Liberata usually deplore it; critics who have written about the poem's religion often do not focus on its clearest textual manifestation, the words and deeds of its supernatural characters. Thomas Greene and C.P. Brand, two of the most perceptive anglophone readers of Tasso's poem, both cast a cold eye on its treatment of the supernatural. For Greene, the heaven of the Liberata is never really credible, 'never impinging on one's actual spiritual life.' (1) Brand describes the poem's supernatural elements as 'unconvincing,' 'mechanical afterthoughts' of 'uncertain inspiration.' (2) In Italian criticism, discussion of Tasso's supernatural has taken second place to the more general question of the poet's religiosity. (3) This debate has developed as a series of responses to the negative judgments offered by De Sanctis and Donadoni, who criticized the religious sentiment in the Liberata as insincere and formalistic, Counterreformation ritual devoid of genuin e feeling. (4) Subsequent critics marshalled evidence from Tasso's poems and vast epistolary to show that the poet was far from personally indifferent to religion. (5) Their researches effectively refuted De Sanctis' charges of insincerity, though these revisionist critics, treating the poet's anguished doubts as evidence of his religiosita, seemed not to realize just how self-destructive Tasso's particular type of religious sentiment must have been. (6) More recent work by Erminia Ardissino and Walter Stephens focuses on the poet's skepticism. (7) Ardissino treats Tasso's religious doubt as the key to his poetry 'Tutta la produzione tassiana si puo interpretare come una ricerca che in vane forme persegue sempre un solo sfuggente oggetto: ii Deus absconditus.' (One can read Tasso's entire poetic output as a search which pursues a single elusive object: the Deus absconditus.) (8) Ardissino reads the Liberata as an essentially tragic poem, marked by a sense of the immeasurable distance between heaven and earth and the ephemerality of mortal affairs. That these themes have an important place in Tasso's epic nobody would deny, but Ardissino's reading tells only part of the story; it ignores the fact that in the Liberata Tasso's Deus is hardly absconditus. God appears four times in the poem in propria persona; (9) the Liberata also includes an important scene featuring Satan, as well as many appearances by angels and devils of varying length and consequence. Due consideration of the poem's intervening deities bears considerably on the question of whether and how Gerusalemme liberata is a tragic poem; this question will be treated at the conclusion of this essay. It is certainly possible, as Stephens hypothesizes, that in writing the Liberata Tasso 'attempted to concretize and organize a faith he found increasingly elusive.' (10) Whatever doubts may have tormented its author, however, in the Liberata a version of the traditional Christian supernatural constitutes the truth of the poem, and its divine characters deserve to be taken as seriously as the Olympian gods in Homeric and Virgilian epic. The following presents a revised view of the divine action in Tasso's poem. It is best understood neither as extraneous 'machinery' nor as figurative embellishment of the mortal action, but rather as an integral part of the narrative. Strange the divine action certainly is, but its strangeness results not from lack of inspiration but from deep tensions between the requirements of epic narrative and Christian theology. These tensions, it will be argued, are endemic to Christian epic. The narrative problems Tasso faced in inventing Christian deities were not his alone, and a close look at how he dealt with them sheds fresh light not only on Gerusalemme liberata but on the uneasy marriage of monotheism and epic narrative. This essay begins with an examination of Tasso's argument for a Christian supernatural in his early poetic treatise, the Discorsi dell'arte poetica. It continues by tracing the various instances of divine intervention in the Liberata, first on the part of the forces of heaven and then on the pa rt of the forces of hell. It concludes with some reflections on divine partisanship and epic plot., A POETICS OF FUSION AND REVISION In the late 1560s, while in his early twenties, Tasso wrote a treatise on epic in three books entitled Discorsi dell'arte poetica. While it [...]