As, in the instances considered, the opinion of Mr. Symonds appears void of foundation, so it is counter to the tenor of the poetry.[78] If No. XXXI really was written for Cavalieri, the reference probably consisted of no more than the introduction, into the ordinary phrases of a love poem, of a complimentary play on words. As for the metaphor by which a lady is compared to an armed enemy, that was already commonplace in the day of Dante.
14 [XXXII] From pieces dealing with ideal affection we pass to one obviously biographic in its inspiration. The poem is written below a letter of 1532, addressed to the sculptor when in Rome. The artist seems to refer to his own impetuous nature, too liable to quarrel with friends. Analogous is the sonnet addressed to Luigi del Riccio. (See madrigal No. 3 [IV] note.) But this composition evidently relates to a lady, as is shown by the mention of the dorato strale, gilded dart of Love.
15 [XXXIII] As with all lyric poetry, so in the compositions of Michelangelo, it is not to be assumed that every expression of emotion of necessity corresponds to some particular experience. Yet the tenderness, melancholy, and gentle regret which inspire the verse evidently reflect the character and habitual manner of feeling of the author. Related in sentiment are the following sonnets:—
[79]
[XXVI]
NON MEN GRAN GRAZIA, DONNA, CHE GRAN DOGLIA
By happiness as deep as agony
Below the scaffold is the caitiff slain,
When lost to hope, and ice in every vein,
His pardon comes, his sudden liberty;