16 [XXXIX] The timid lover, who finds himself involved in the dangers of a hopeless passion, endeavors to withdraw from the perilous situation, but in so doing finds himself confronted by another danger, that of losing the affection which has become his life. As the vain desire will prove the death of the body, so the renunciation will be that of the soul; thus the suitor, according to the familiar metaphorical system furnished by plastic[82] art, is said to see his lady with a statue of Death on either hand.
The beautiful and mystic sonnet was written on a stray leaf bearing a memorandum of 1529, and was probably composed in that year. According to the statement of the nephew, Nos. 8 and 9 [XXIV and XXV] were also written on letters of that year; and these two poems correspond in sentiment with the present piece.
17 [XL] This most beautiful sonnet might conjecturally be referred to the same period as No. 12 [XXIX]. The spirit of the verse ought to be enough to satisfy any reader that it was composed with reference to a woman. (See note to No. 13 [XXX].)
18, 19 [XLIII, XLIV] These two pieces, containing respectively the dispraise and praise of night, are obviously intended to be counterparts, the first forming an introduction to the second. The consolations belonging to darkness and slumber have furnished themes to very many writers of verse; but among all such pieces Michelangelo’s tribute is entitled to preëminence. The emotion, deepening with the progress of the rhyme, ends in one of those outbursts which make the poetry a key to the character. Two other sonnets treating of the same subject do not appear to be connected.
[83]
[XLI]
COLUI CHE FECE, E NON DI COSA ALCUNA
He who did erst from primal nothing bring
Time, integral and property of none,
To half, dividing, gave the distant sun,