d age to
the passions of his youth is almost sufficient to justify those
psychological investigators who regard him as the subject of a nervous
disorder. It does not seem to be accounted for by anything known to us
regarding his stern and solitary life, his aloofness from the vulgar,
and his self-dedication to study. In addition to the splendid
devotional sonnets addressed to Vasari, which will appear in their
proper place, I may corroborate these remarks by the translation of a
set of three madrigals bearing on the topic.

_Ah me, ah me! how have I been betrayed
By my swift-flitting years, and by the glass,
Which yet tells truth to those who firmly gaze!
Thus happens it when one too long delays,
As I have done, nor feels time fleet and, fade:--
One morn he finds himself grown old, alas!
To gird my loins, repent, my path repass,
Sound counsel take, I cannot, now death's near;
Foe to myself, each tear,
Each sigh, is idly to the light wind sent,
For there's no loss to equal time ill-spent.

Ah me, ah me! I wander telling o'er
Past years, and yet in all I cannot view
One day that might be rightly reckoned mine.
Delusive hopes and vain desires entwine
My soul that loves, weeps, burns, and sighs full sore.
Too well I know and prove that this is true,
Since of man's passions none to me are new.
Far from the truth my steps have gone astray,
In peril now I stay,
For, lo! the brief span of my life is o'er.
Yet, were it lengthened, I should love once more.

Ah me! I wander tired, and know not whither:
I fear to sight my goal, the years gone by
Point it too plain; nor will closed eyes avail.
Now Time hath changed and gnawed this mortal veil,
Death and the soul in conflict strive together
About my future fate that looms so nigh.
Unless my judgment greatly goes awry,
Which God in mercy grant, I can but see
Eternal penalty
Waiting my wasted will, my misused mind,
And know not, Lord, where health and hope to find._

After reading these lamentations, it is well to remember that
Michelangelo at times indulged a sense of humour. As examples of his
lighter vein, we might allude to the sonnet on the Sistine and the
capitolo in answer to Francesco Berni, written in the name of Fra
Sebastiano. Sometimes his satire becomes malignant, as in the sonnet
against the people of Pistoja, which breathes the spirit of Dantesque
invective. Sometimes the fierceness of it is