2 [III] The difficult but very interesting madrigal gives a profound insight into the spirit of the writer, who felt himself to move in a society foreign from the higher flight of his genius. His habits of isolation are remarked by contemporaries. Giannotti, in the dialogue above mentioned, discourses amusingly on this trait of character, putting[92] into the mouth of the artist a reply to an invitation. “I won’t promise.” “Why?” “Because I had rather stay at home.” “For what reason?” “Because, if I should put myself under such conditions, I should be too gay; and I don’t want to be gay.” Luigi del Riccio, introduced as interlocutor, exclaims that he never heard of such a thing; in this sad world one must seize every opportunity of distraction; he himself would supply a monochord, and they would all dance, to drive away sorrow. To this comforting proposition, Michelangelo returns that he should much prefer to cry. Giannotti romances; but Francis of Holland is nearer the fact when he makes the sculptor answer an accusation urged against solitary habits. The artist declares that there is good ground for such accusation against one who withdraws from the world by reason of eccentricity, but not against a man who has something better to do with his time. The particular occasion of the madrigal seems to have been dissatisfaction with praise lavished on what to Michelangelo seemed an unworthy work. Southey paraphrases the poem, but gives the idea only imperfectly.
Here, in connection with the idea of beauty as furnished from within, may be introduced a version of a madrigal interesting rather on[93] account of the philosophic conception than the poetic excellence. (See also sonnet XVIII, translated in the note to No. XXX.)
[VII]
PER FIDO ESEMPLO ALLA MIA VOCAZIONE
On me hath been bestowed by birthtide-gift,
Of both mine arts the mirror and the light,
Beauty, my model in my calling here.
It only hath the competence to lift
The vision of the artist to that height
At which I aim in form or color clear.