Letters & writings
Michelangelo
Read five complete poems in John Addington Symonds's 1878 English translation and one complete 1497 letter in historical Italian. The labels distinguish Michelangelo's words from translators' titles and editors' notes.
Perhaps 1545 (Symonds's dating)On Dante Alighieri
On Dante Alighieri
Note I says the composition date is perhaps 1545. This is not independently established here.
Complete historical translation
From heaven his spirit came, and robed in clay The realms of justice and of mercy trod, Then rose a living man to gaze on God, That he might make the truth as clear as day. For that pure star that brightened with his ray The undeserving nest where I was born, The whole wide world would be a prize to scorn; None but his Maker can due guerdon pay. I speak of Dante, whose high work remains Unknown, unhonoured by that thankless brood, Who only to just men deny their wage. Were I but he! Born for like lingering pains, Against his exile coupled with his good I'd gladly change the world's best heritage!
Edition, attribution & reuse notes
The Sonnets of Michael Angelo Buonarroti and Tommaso Campanella; Now for the First Time Translated into Rhymed English: John Addington Symonds, 1878.
Public domain in the USA Historical work and specified old translation/edition; no modern translation used. Gutenberg catalog and ebook header checked; nineteenth-century title page checked. No blanket worldwide clearance claimed; check local law outside the USA. Preserve translator/editor attribution. Keep Gutenberg credit in the source/reference section and retain the full ebook credits/license in any full-ebook download. See RIGHTS-SOURCES.md.
Probably 1509 (Symonds's dating)On the Painting of the Sistine Chapel
On the Painting of the Sistine Chapel
Note V says probably 1509. The twenty-line sonetto a coda includes its six-line tail.
Complete historical translation
I've grown a goitre by dwelling in this den-- As cats from stagnant streams in Lombardy, Or in what other land they hap to be-- Which drives the belly close beneath the chin: My beard turns up to heaven; my nape falls in, Fixed on my spine: my breast-bone visibly Grows like a harp: a rich embroidery Bedews my face from brush-drops thick and thin. My loins into my paunch like levers grind: My buttock like a crupper bears my weight; My feet unguided wander to and fro; In front my skin grows loose and long; behind, By bending it becomes more taut and strait; Crosswise I strain me like a Syrian bow: Whence false and quaint, I know, Must be the fruit of squinting brain and eye; For ill can aim the gun that bends awry. Come then, Giovanni, try To succour my dead pictures and my fame; Since foul I fare and painting is my shame.
Edition, attribution & reuse notes
The Sonnets of Michael Angelo Buonarroti and Tommaso Campanella; Now for the First Time Translated into Rhymed English: John Addington Symonds, 1878.
Public domain in the USA Historical work and specified old translation/edition; no modern translation used. Gutenberg catalog and ebook header checked; nineteenth-century title page checked. No blanket worldwide clearance claimed; check local law outside the USA. Preserve translator/editor attribution. Keep Gutenberg credit in the source/reference section and retain the full ebook credits/license in any full-ebook download. See RIGHTS-SOURCES.md.
Composition date not establishedThe Lover and the Sculptor
The Lover and the Sculptor
No composition year is assigned in this selected item or Note XV. Do not use 1878 as a poem date.
Complete historical translation
The best of artists hath no thought to show Which the rough stone in its superfluous shell Doth not include: to break the marble spell Is all the hand that serves the brain can do. The ill I shun, the good I seek, even so In thee, fair lady, proud, ineffable, Lies hidden: but the art I wield so well Works adverse to my wish, and lays me low. Therefore not love, nor thy transcendent face, Nor cruelty, nor fortune, nor disdain, Cause my mischance, nor fate, nor destiny; Since in thy heart thou carriest death and grace Enclosed together, and my worthless brain Can draw forth only death to feed on me.
Edition, attribution & reuse notes
The Sonnets of Michael Angelo Buonarroti and Tommaso Campanella; Now for the First Time Translated into Rhymed English: John Addington Symonds, 1878.
Public domain in the USA Historical work and specified old translation/edition; no modern translation used. Gutenberg catalog and ebook header checked; nineteenth-century title page checked. No blanket worldwide clearance claimed; check local law outside the USA. Preserve translator/editor attribution. Keep Gutenberg credit in the source/reference section and retain the full ebook credits/license in any full-ebook download. See RIGHTS-SOURCES.md.
Composition date not establishedLove and Art
Love and Art
No composition year is assigned in this selected item or Note XVI. Do not infer an addressee from the translator's wording.
Complete historical translation
As pen and ink alike serve him who sings In high or low or intermediate style; As the same stone hath shapes both rich and vile To match the fancies that each master brings; So, my loved lord, within thy bosom springs Pride mixed with meekness and kind thoughts that smile: Whence I draw nought, my sad self to beguile, But what my face shows--dark imaginings. He who for seed sows sorrow, tears, and sighs, (The dews that fall from heaven, though pure and clear, From different germs take divers qualities) Must needs reap grief and garner weeping eyes; And he who looks on beauty with sad cheer, Gains doubtful hope and certain miseries.
Edition, attribution & reuse notes
The Sonnets of Michael Angelo Buonarroti and Tommaso Campanella; Now for the First Time Translated into Rhymed English: John Addington Symonds, 1878.
Public domain in the USA Historical work and specified old translation/edition; no modern translation used. Gutenberg catalog and ebook header checked; nineteenth-century title page checked. No blanket worldwide clearance claimed; check local law outside the USA. Preserve translator/editor attribution. Keep Gutenberg credit in the source/reference section and retain the full ebook credits/license in any full-ebook download. See RIGHTS-SOURCES.md.
1554; sent with a letter dated 19 September 1554On the Brink of Death
On the Brink of Death
Note LXV gives 1554 and quotes a covering letter dated 19 September 1554. That day is the letter's date, not a demonstrated day of poetic composition.
Complete historical translation
Now hath my life across a stormy sea Like a frail bark reached that wide port where all Are bidden, ere the final reckoning fall Of good and evil for eternity.
Now know I well how that fond phantasy Which made my soul the worshipper and thrall Of earthly art, is vain; how criminal Is that which all men seek unwillingly.
Those amorous thoughts which were so lightly dressed, What are they when the double death is nigh? The one I know for sure, the other dread.
Painting nor sculpture now can lull to rest My soul that turns to His great love on high, Whose arms to clasp us on the cross were spread.
Edition, attribution & reuse notes
The Sonnets of Michael Angelo Buonarroti and Tommaso Campanella; Now for the First Time Translated into Rhymed English: John Addington Symonds, 1878.
Public domain in the USA Historical work and specified old translation/edition; no modern translation used. Gutenberg catalog and ebook header checked; nineteenth-century title page checked. No blanket worldwide clearance claimed; check local law outside the USA. Preserve translator/editor attribution. Keep Gutenberg credit in the source/reference section and retain the full ebook credits/license in any full-ebook download. See RIGHTS-SOURCES.md.
1497-07-01To his father, Lodovico Buonarroti (1 July 1497)
To his father, Lodovico Buonarroti (1 July 1497)
Rome, 1 July 1497, as transcribed by Milanesi; no claim of new manuscript collation.
Historical Italian text
Domino Lodovico Buonarroti in Firenze.
Al nome di Dio. A dì primo di luglio 1497.
Reverendissimo e caro padre. Non vi maravigliate che io non torni, perchè io non ò potuto ancora aconciare e' fatti mia col Cardinale,[4] e partir no mi voglio, se prima io non son sodisfatto e remunerato della fatica mia; e con questi gra' maestri bisognia andare adagio, perchè non si possono sforzare: ma credo in ogni modo di questa settimana che viene, essere sbrigato d'ogni cosa.
Avisovi come fray Lionardo ritornò qua a Roma, che dicie che gli era bisogniato fuggire da Viterbo e che gli era stato tolto la cappa: e voleva venire costà: onde io gli detti un ducato d'oro che mi chiese per venire, e credo che 'l dobiate sapere, perchè debe esser giunto costà.
Io non so che mi vi dire altro, perchè sto sospeso e non so ancora come la s'andrà: ma presto spero essere da voi. Sano: così spero di voi. Racomandatemi agli amici.
MICHELAGNIOLO scultore in Roma.
Edition, attribution & reuse notes
Le lettere di Michelangelo Buonarroti, pubblicate coi ricordi ed i contratti artistici: Gaetano Milanesi, 1875.
Public domain in the USA Historical work and specified old translation/edition; no modern translation used. Gutenberg catalog and ebook header checked; nineteenth-century title page checked. No blanket worldwide clearance claimed; check local law outside the USA. Preserve translator/editor attribution. Keep Gutenberg credit in the source/reference section and retain the full ebook credits/license in any full-ebook download. See RIGHTS-SOURCES.md.
Complete historical editions
Le lettere di Michelangelo Buonarroti
Gaetano Milanesi's 1875 Italian edition of the correspondence.
Sonnets of Michael Angelo Buonarroti
John Addington Symonds's 1878 English translation used for the five complete poems above.
Sonnets and Madrigals of Michelangelo Buonarroti
William Wells Newell's 1900 English selection, preserved as a second historical translation for comparison.