Henry Wadsworth Longfellow (1807–1882). Complete Poetical Works. 1893.
Michael Angelo: A FragmentPart First. V. Vittoria Colonna
V
My soul goes out to meet you and embrace you,
For we are of the sisterhood of sorrow.
I know what you have suffered.
Let me forget it.
Let me look at you. What a joy it is
To see your face, to hear your voice again!
You bring with you a breath as of the morn,
A memory of the far-off happy days
When we were young. When did you come from Fondi?
You need not speak the word: I understand you.
The Terra di Lavoro.
But just returned from a long journey northward.
I have been staying with that noble woman,
Renée of France, the Duchess of Ferrara.
Flaminio speak her praises with such warmth
That I am eager to hear more of her
And of her brilliant court.
But first sit down and listen patiently
While I confess myself.
Have you committed?
I chid you once at Ischia, when you told me
That brave Fra Bastian was to paint your portrait.
For I confess to something still more strange.
Old as I am, I have at last consented
To the entreaties and the supplications
Of Michael Angelo—
Or you should know, that never such a thought
Entered my breast. I am already married.
The Marquis of Pescara is my husband,
And death has not divorced us.
Have I offended you?
Unto my buried lord I give myself,
Unto my friend the shadow of myself,
My portrait. It is not from vanity,
But for the love I bear him.
To hear these words. Oh, this will be a portrait
Worthy of both of you![A knock.
The drawing will be better for your presence;
You will enliven me.
The presence of great men doth take from me
All power of speech. I only gaze at them
In silent wonder, as if they were gods,
Or the inhabitants of some other planet.
I interrupt you.
Of yours as well as mine,—the Lady Julia,
The Duchess of Trajetto.
’T is long since I have seen your face, my lady;
Pardon me if I say that having seen it,
One never can forget it.
To keep me in your memory.
The privilege of age to speak with frankness.
You will not be offended when I say
That never was your beauty more divine.
Or praise me, I am proud, and not offended.
Show me a little.
You know I have not words to speak your praise.
I think of you in silence. You conceal
Your manifold perfections from all eyes,
And make yourself more saint-like day by day,
And day by day men worship you the more.
But now your hour of martyrdom has come.
You know why I am here.
And meet my fate with fortitude. You find me
Surrounded by the labors of your hands:
The Woman of Samaria at the Well,
The Mater Dolorosa, and the Christ
Upon the Cross, beneath which you have written
Those memorable words of Alighieri,
“Men have forgotten how much blood it costs.”
If you will call that labor which is pleasure,
And only pleasure.
That should be given to the Sistine Chapel.
How does that work go on?
Old men work slowly. Brain and hand alike
Are dull and torpid. To die young is best,
And not to be remembered as old men
Tottering about in their decrepitude.
The story of Sophocles in his old age?
Before the Areopagus, of dotage,
For all defence, he read there to his Judges
The Tragedy of Œdipus Coloneus,—
The work of his old age.
A fabulous story, that will lead old men
Into a thousand follies and conceits.
Of the Last Judgment in the Sistine Chapel.
The conversation that I interrupted.
Nor less than my late visit to Ferrara,
And what I saw there in the ducal palace.
Will it not interrupt you?
Cold in his manners, and reserved and silent,
And yet magnificent in all his ways;
Not hospitable unto new ideas,
But from state policy, and certain reasons
Concerning the investiture of the duchy,
A partisan of Rome, and consequently
Intolerant of all the new opinions.
Who only look and listen, are like wells
That have no water in them, deep and empty.
How could the daughter of a king of France
Wed such a duke?
And why they marry them, will always be
A marvel and a mystery to the world.
Or tell the merits of that happy nature
Which pleases most when least it thinks of pleasing?
Not beautiful, perhaps, in form and feature,
Yet with an inward beauty, that shines through
Each look and attitude and word and gesture;
A kindly grace of manner and behavior,
A something in her presence and her ways
That makes her beautiful beyond the reach
Of mere external beauty; and in heart
So noble and devoted to the truth,
And so in sympathy with all who strive
After the higher life.
As much as her Duke Ercole repels me.
That grace her court, and make it good to be there;
Francesca Bucyronia, the true-hearted,
Lavinia della Rovere and the Orsini,
The Magdalena and the Cherubina,
And Anne de Parthenai, who sings so sweetly;
All lovely women, full of noble thoughts
And aspirations after noble things.
Are fitter company for Ser Giovanni;
I fear he hardly would have comprehended
The women that I speak of.
The story of Griseldis. That is something
To set down in his favor.
Was a young girl, Olympia Morata,
Daughter of Fulvio, the learned scholar,
Famous in all the universities:
A marvellous child, who at the spinning-wheel,
And in the daily round of household cares,
Hath learned both Greek and Latin; and is now
A favorite of the Duchess and companion
Of Princess Anne. This beautiful young Sappho
Sometimes recited to us Grecian odes
That she had written, with a voice whose sadness
Thrilled and o’ermastered me, and made me look
Into the future time, and ask myself
What destiny will be hers.
Frost kills the flowers that blossom out of season;
And these precocious intellects portend
A life of sorrow or an early death.
Chilian Sinapius from beyond the Alps,
And Celio Curione, and Manzolli,
The Duke’s physician; and a pale young man,
Charles d’Espeville of Geneva, whom the Duchess
Doth much delight to talk with and to read.
For he hath written a book of Institutes
The Duchess greatly praises, though some call it
The Koran of the heretics.
Were there to sing you madrigals, and praise
Olympia’s eyes and Cherubina’s tresses?
The voice that filled those halls with melody
Has long been hushed in death.
A pilgrimage unto the poet’s tomb,
And laid a wreath upon it, for the words
He spake of you.
And of our master, Michael Angelo.
Michael, less man than angel, and divine?
You are ungrateful.
That adjective he wanted for a rhyme,
To match with Gian Bellino and Urbino.
Nor the gay troubadour of Gascony,
Clement Marot, surnamed by flatterers
The Prince of Poets and the Poet of Princes,
Who, being looked upon with much disfavor
By the Duke Ercole, has fled to Venice.
The Scourge of Princes, also called Divine.
The title is so common in our mouths,
That even the Pifferari of Abruzzi,
Who play their bag-pipes in the streets of Rome
At the Epiphany, will bear it soon,
And will deserve it better than some poets.
One that comes buzzing in through every window,
And stabs men with his sting. A bitter thought
Passed through my mind, but it is gone again;
I spake too hastily.
What you have done.