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Non ha l’ottimo artista, by Michelangelo Buonarroti
Today we read Non ha l’ottimo artista, by Michelangelo Buonarroti.
Besides painting, sculpting and designing buildings, Michelangelo also wrote poetry. He might not be often remembered for his literary efforts, which he himself considered a “silly thing,” but his sonnets are quite accomplished.
Love is as usual a recurring theme, but it is seldom explored in itself, in the fashion of Petrarca: most of the time themes like death, sin and eternal salvation are interwoven or take center stage.
The result is often a more expressive, sometimes difficult style, with a dark and ominous outlook.
Today’s sonnet is dedicated to the poetess Vittoria Colonna. Michelangelo uses the trope according to which the sculptor doesn’t invent anything, but rather uncovers what is already hidden in the original block of marble.
In the same fashion, his beloved contains in herself the possibility of love for him, mixed with indifference and outright disdain.
But he is not artist enough to extract from her what he desires: his art obtains quite the opposite effect. And the fault is entirely on him and his inadequacy.
The original:
Non ha l’ottimo artista alcun concetto
c’un marmo solo in sé non circonscriva
col suo superchio, e solo a quello arriva
la man che ubbidisce all’intelletto.
Il mal ch’io fuggo, e ’l ben ch’io mi prometto,
in te, donna leggiadra, altera e diva,
tal si nasconde; e perch’io più non viva,
contraria ho l’arte al disïato effetto.
Amor dunque non ha, né tua beltate
o durezza o fortuna o gran disdegno,
del mio mal colpa, o mio destino o sorte;
se dentro del tuo cor morte e pietate
porti in un tempo, e che ’l mio basso ingegno
non sappia, ardendo, trarne altro che morte.\
The music in this episode is Vivaldi’s Double Violin Concerto in D minor, Op. 3 No. 11, played by the Advent Chamber Orchestra with David Parry and Roxana Pavel Goldstein (under creative commons from the Al Goldstein collection).
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By Italian PoetryToday we read Non ha l’ottimo artista, by Michelangelo Buonarroti.
Besides painting, sculpting and designing buildings, Michelangelo also wrote poetry. He might not be often remembered for his literary efforts, which he himself considered a “silly thing,” but his sonnets are quite accomplished.
Love is as usual a recurring theme, but it is seldom explored in itself, in the fashion of Petrarca: most of the time themes like death, sin and eternal salvation are interwoven or take center stage.
The result is often a more expressive, sometimes difficult style, with a dark and ominous outlook.
Today’s sonnet is dedicated to the poetess Vittoria Colonna. Michelangelo uses the trope according to which the sculptor doesn’t invent anything, but rather uncovers what is already hidden in the original block of marble.
In the same fashion, his beloved contains in herself the possibility of love for him, mixed with indifference and outright disdain.
But he is not artist enough to extract from her what he desires: his art obtains quite the opposite effect. And the fault is entirely on him and his inadequacy.
The original:
Non ha l’ottimo artista alcun concetto
c’un marmo solo in sé non circonscriva
col suo superchio, e solo a quello arriva
la man che ubbidisce all’intelletto.
Il mal ch’io fuggo, e ’l ben ch’io mi prometto,
in te, donna leggiadra, altera e diva,
tal si nasconde; e perch’io più non viva,
contraria ho l’arte al disïato effetto.
Amor dunque non ha, né tua beltate
o durezza o fortuna o gran disdegno,
del mio mal colpa, o mio destino o sorte;
se dentro del tuo cor morte e pietate
porti in un tempo, e che ’l mio basso ingegno
non sappia, ardendo, trarne altro che morte.\
The music in this episode is Vivaldi’s Double Violin Concerto in D minor, Op. 3 No. 11, played by the Advent Chamber Orchestra with David Parry and Roxana Pavel Goldstein (under creative commons from the Al Goldstein collection).