No More Learning

The Papal Seals,
Like leaden weights upon a dead man's eyes,
Press down his lids; and so the burden falls
On Michael Angelo, Chief Architect
And Painter of the Apostolic Palace.
That is the title they cajole me with,
To make me do their work and leave my own;
But having once begun, I turn not back.
Blow, ye bright angels, on your golden trumpets
To the four corners of the earth, and wake
The dead to judgment! Ye recording angels,
Open your books and read? Ye dead awake!
Rise from your graves, drowsy and drugged with death,
As men who suddenly aroused from sleep
Look round amazed, and know not where they are!

In happy hours, when the imagination
Wakes like a wind at midnight, and the soul
Trembles in all its leaves, it is a joy
To be uplifted on its wings, and listen
To the prophetic voices in the air
That call us onward. Then the work we do
Is a delight, and the obedient hand
Never grows weary. But how different is it
En the disconsolate, discouraged hours,
When all the wisdom of the world appears
As trivial as the gossip of a nurse
In a sick-room, and all our work seems useless,

What is it guides my hand, what thoughts possess me,
That I have drawn her face among the angels,
Where she will be hereafter? O sweet dreams,
That through the vacant chambers of my heart
Walk in the silence, as familiar phantoms
Frequent an ancient house, what will ye with me?
'T is said that Emperors write their names in green
When under age, but when of age in purple.
So Love, the greatest Emperor of them all,
Writes his in green at first, but afterwards
In the imperial purple of our blood.
First love or last love,--which of these two passions
Is more omnipotent? Which is more fair,
The star of morning or the evening star?
The sunrise or the sunset of the heart?
The hour when we look forth to the unknown,
And the advancing day consumes the shadows,
Or that when all the landscape of our lives
Lies stretched behind us, and familiar places
Gleam in the distance, and sweet memories
Rise like a tender haze, and magnify
The objects we behold, that soon must vanish?

What matters it to me, whose countenance
Is like the Laocoon's, full of pain; whose forehead
Is a ploughed harvest-field, where three-score years
Have sown in sorrow and have reaped in anguish;
To me, the artisan, to whom all women
Have been as if they were not, or at most
A sudden rush of pigeons in the air,
A flutter of wings, a sound, and then a silence?
I am too old for love; I am too old
To flatter and delude myself with visions
Of never-ending friendship with fair women,
Imaginations, fantasies, illusions,
In which the things that cannot be take shape,
And seem to be, and for the moment are.
[Convent bells ring.

Distant and near and low and loud the bells,
Dominican, Benedictine, and Franciscan,
Jangle and wrangle in their airy towers,
Discordant as the brotherhoods themselves
In their dim cloisters. The descending sun
Seems to caress the city that he loves,
And crowns it with the aureole of a saint.
I will go forth and breathe the air a while.


II.

SAN SILVESTRO

A Chapel in the Church of San Silvestra on Monte Cavallo.

VITTORIA COLONNA, CLAUDIO TOLOMMEI, and others.

VITTORIA.
Here let us rest a while, until the crowd
Has left the church. I have already sent
For Michael Angelo to join us here.

MESSER CLAUDIO.
After Fra Bernardino's wise discourse
On the Pauline Epistles, certainly
Some words of Michael Angelo on Art
Were not amiss, to bring us back to earth.

MICHAEL ANGELO, at the door.