In the Coliseum
CAVALIERI.What have you here alone, Messer Michele?
I come to learn.
CAVALIERI.You are already master,And teach all other men.
Nay, I know nothing;Not even my own ignorance, as somePhilosopher hath said. I am a schoolboyWho hath not learned his lesson, and who standsAshamed and silent in the awful presenceOf the great master of antiquityWho built these walls cyclopean.
CAVALIERI.GaudentiusHis name was, I remember. His rewardWas to be thrown alive to the wild beastsHere where we now are standing.
Idle tales.
CAVALIERI.But you are greater than Gaudentius was,And your work nobler.
Silence, I beseech you.
CAVALIERI.Tradition says that fifteen thousand menWere toiling for ten years incessantlyUpon this amphitheatre.
BeholdHow wonderful it is! The queen of flowers,The marble rose of Rome! Its petals tornBy wind and rain of thrice five hundred years;Its mossy sheath half rent away, and soldTo ornament our palaces and churches,Or to be trodden under feet of manUpon the Tiber's bank; yet what remainsStill opening its fair bosom to the sun,And to the constellations that at nightHang poised above it like a swarm of bees.
CAVALIERI.The rose of Rome, but not of Paradise;Not the white rose our Tuscan poet saw,With saints for petals. When this rose was perfectIts hundred thousand petals were not Saints,But senators in their Thessalian caps,And all the roaring populace of Rome;And even an Empress and the Vestal Virgins,Who came to see the gladiators die,Could not give sweetness to a rose like this.
I spake not of its uses, but its beauty.
CAVALIERI.The sand beneath our feet is saturateWith blood of martyrs; and these rifted stonesAre awful witnesses against a peopleWhose pleasure was the pain of dying men.
Tomaso Cavalieri, on my word,You should have been a preacher, not a painter!Think you that I approve such cruelties,Because I marvel at the architectsWho built these walls, and curved these noble arches?Oh, I am put to shame, when I considerHow mean our work is, when compared with theirs!Look at these walls about us and above us!They have been shaken by earthquake; have been madeA fortress, and been battered by long sieges;The iron clamps, that held the stones together,Have been wrenched from them; but they stand erectAnd firm, as if they had been hewn and hollowedOut of the solid rock, and were a partOf the foundations of the world itself.
CAVALIERI.Your work, I say again, is nobler work,In so far as its end and aim are nobler;And this is but a ruin, like the rest.Its vaulted passages are made the cavernsOf robbers, and are haunted by the ghostsOf murdered men.
A thousand wild flowers bloomFrom every chink, and the birds build their nestsAmong the ruined arches, and suggestNew thoughts of beauty to the architect,Now let us climb the broken stairs that leadInto the corridors above, and studyThe marvel and the mystery of that artIn which I am a pupil, not a master.All things must have an end; the world itselfMust have an end, as in a dream I saw it.There came a great hand out of heaven, and touchedThe earth, and stopped it in its course. The seasLeaped, a vast cataract, into the abyss;The forests and the fields slid off, and floatedLike wooded islands in the air. The deadWere hurled forth from their sepulchres; the livingWere mingled with them, and themselves were dead,--All being dead; and the fair, shining citiesDropped out like jewels from a broken crown.Naught but the core of the great globe remained,A skeleton of stone. And over itThe wrack of matter drifted like a cloud,And then recoiled upon itself, and fellBack on the empty world, that with the weightReeled, staggered, righted, and then headlong plungedInto the darkness, as a ship, when struckBy a great sea, throws off the waves at firstOn either side, then settles and goes downInto the dark abyss, with her dead crew.
CAVALIERI.But the earth does not move.
Who knows? who knowst?There are great truths that pitch their shining tentsOutside our walls, and though but dimly seenIn the gray dawn, they will be manifestWhen the light widens into perfect day.A certain man, Copernicus by name,Sometime professor here in Rome, has whisperedIt is the earth, and not the sun, that moves.What I beheld was only in a dream,Yet dreams sometimes anticipate events,Being unsubstantial images of thingsAs yet unseen.
Words in this poem
- schoolboy n.
- A boy belonging to, or attending, a school.
- cyclopean a.
- Pertaining to the Cyclops; characteristic of the Cyclops; huge; gigantic; vast and rough; massive; as, Cyclopean labors; Cyclopean architecture. [L. Cyclopeus, Gr. cyclopeen.]
- incessantly adv.
- Unceasingly; continually.
- amphitheatre n.
- An oval or circular building with rising tiers of seats about an open space called the arena. [L. amphitheatrum, fr. Gr. amphithé\'83tre. See Theater.]
- thessalian a.
- Of or pertaining to Thessaly in Greece. [Cf. L. Thessalius.]
- vestal a.
- Of or pertaining to Vesta, the virgin goddess of the hearth; hence, pure; chaste. [L. Vestalis belonging to Vesta, vestal. See Vesta.]
- haunted a.
- Inhabited by, or subject to the visits of, apparitions; frequented by a ghost.
- wrack n.
- Wreck; ruin; destruction. [OE. wrak wreck. See Wreck.]
- dimly adv.
- In a dim or obscure manner; not brightly or clearly; with imperfect sight.
- sometime adv.
- At a past time indefinitely referred to; once; formerly.
- unseen a.
- Not seen or discovered.
Definitions and etymologies from Webster's Unabridged Dictionary, 1913.
About this text
In the Coliseum is in the public domain. This text is taken from The Complete Poetical Works of Henry Wadsworth Longfellow, Project Gutenberg ebook #1365; the transcription's header, footer and licence were removed and nothing else was changed. You may copy, print and reuse it freely.
Cite as: Henry Wadsworth Longfellow, In the Coliseum, in Michael Angelo: A Fragment (1883), Laurel, https://laurelpoetry.com/poem/longfellow-michael-angelo/in-the-coliseum.html.
Form and metre
In the Coliseum is 119 lines in 18 stanzas.
Measured by Laurel's pipeline, not copied from a handbook: how stress and metre are counted, how rhyme is lettered, how a drifted rhyme is found. Where the dictionary cannot confirm a rhyme the letter is withheld, not guessed.
Rhyme words, stanza by stanza
The word that ends each line, lettered by the rhyme it makes; a dash is a line whose rhyme the dictionary could not confirm.
- 10 A---A------ beholdA · flowers · torn · years · soldA · churches · man · remains · sun · night · bees
- 14 --------A---A-- word · painter · cruelties · architects · arches · consider · theirs · us · madeA · sieges · together · erect · hollowedA · part · itself
- 16 ----A----B---AA-A-C-B------C- bloom · nests · suggest · architect · leadA · study · art · master · itself · itB · touched · seas · abyss · floatedA · deadA · living · deadA · cities · crownC · remained · itB · cloud · fell · weight · plunged · struck · first · downC · crew
- 18 -AB------A-B knowst · tentsA · seenB · manifest · day · name · whispered · moves · dream · eventsA · things · unseenB
Scansion, line by line
Each line with its syllable count and the stresses the words themselves fix: / stressed, ˘ unstressed, · a syllable the word leaves free and the metre decides. How this is done.
| Line | Syl. | Stress |
|---|---|---|
| CAVALIERI. | 4 | ˘˘/˘ |
| What have you here alone, Messer Michele? | 10 | ····˘//˘˘/ |
| I come to learn. | 4 | ···· |
| CAVALIERI. | 4 | ˘˘/˘ |
| You are already master, | 7 | ··˘/˘/˘ |
| And teach all other men. | 6 | ···/˘· |
| Nay, I know nothing; | 5 | ···/˘ |
| Not even my own ignorance, as some | 10 | ·/˘··/˘˘·· |
| Philosopher hath said. I am a schoolboy | 10 | ˘/˘·····/· |
| Who hath not learned his lesson, and who stands | 10 | ·····/˘··· |
| Ashamed and silent in the awful presence | 11 | ˘/·/˘··/˘/˘ |
| Of the great master of antiquity | 10 | ···/˘·˘/˘˘ |
| Who built these walls cyclopean. | 8 | ·····˘/˘ |
| CAVALIERI. | 4 | ˘˘/˘ |
| Gaudentius | 3 | ··· |
| His name was, I remember. His reward | 10 | ····˘/˘·˘/ |
| Was to be thrown alive to the wild beasts | 10 | ····˘/···· |
| Here where we now are standing. | 7 | ·····/˘ |
| Idle tales. | 3 | /˘· |
| CAVALIERI. | 4 | ˘˘/˘ |
| But you are greater than Gaudentius was, | 10 | ···/˘····· |
| And your work nobler. | 5 | ···/˘ |
| Silence, I beseech you. | 6 | /˘·˘/· |
| CAVALIERI. | 4 | ˘˘/˘ |
| Tradition says that fifteen thousand men | 10 | ˘/˘··///˘· |
| Were toiling for ten years incessantly | 10 | ·/˘···˘/˘˘ |
| Upon this amphitheatre. | 8 | ···/˘·˘˘ |
| Behold | 2 | ˘/ |
| How wonderful it is! The queen of flowers, | 11 | ·/˘˘·····/˘ |
| The marble rose of Rome! Its petals torn | 10 | ·/˘····/˘· |
| By wind and rain of thrice five hundred years; | 10 | ·······/˘· |
| Its mossy sheath half rent away, and sold | 10 | ·/˘···˘/·· |
| To ornament our palaces and churches, | 11 | ·/˘˘//˘˘·/˘ |
| Or to be trodden under feet of man | 10 | ···/˘····· |
| Upon the Tiber's bank; yet what remains | 10 | ···/˘···˘/ |
| Still opening its fair bosom to the sun, | 10 | ·/˘··/˘··· |
| And to the constellations that at night | 10 | ····˘/˘··· |
| Hang poised above it like a swarm of bees. | 10 | ·········· |
| CAVALIERI. | 4 | ˘˘/˘ |
| The rose of Rome, but not of Paradise; | 10 | ·······/˘· |
| Not the white rose our Tuscan poet saw, | 10 | ····//˘/˘· |
| With saints for petals. When this rose was perfect | 11 | ···/˘····/· |
| Its hundred thousand petals were not Saints, | 10 | ·/˘/˘/˘··· |
| But senators in their Thessalian caps, | 10 | ·/˘··˘/˘˘· |
| And all the roaring populace of Rome; | 10 | ···/˘/˘˘·· |
| And even an Empress and the Vestal Virgins, | 11 | ·/·/˘··/˘/˘ |
| Who came to see the gladiators die, | 10 | ·····/˘·˘· |
| Could not give sweetness to a rose like this. | 10 | ···/˘····· |
| I spake not of its uses, but its beauty. | 11 | ·····/˘··/˘ |
| CAVALIERI. | 4 | ˘˘/˘ |
| The sand beneath our feet is saturate | 10 | ····/··/˘· |
| With blood of martyrs; and these rifted stones | 10 | ···/˘··/˘· |
| Are awful witnesses against a people | 11 | ·/˘/˘˘···/˘ |
| Whose pleasure was the pain of dying men. | 10 | ·/˘····/˘· |
| Tomaso Cavalieri, on my word, | 10 | ˘/˘˘˘/˘··· |
| You should have been a preacher, not a painter! | 11 | ·····/˘··/˘ |
| Think you that I approve such cruelties, | 9 | ····˘/·/˘ |
| Because I marvel at the architects | 10 | ···/˘··/˘· |
| Who built these walls, and curved these noble arches? | 11 | ·······/˘/˘ |
| Oh, I am put to shame, when I consider | 11 | ········˘/˘ |
| How mean our work is, when compared with theirs! | 10 | ··/···˘/·· |
| Look at these walls about us and above us! | 11 | ··········· |
| They have been shaken by earthquake; have been made | 11 | ···/˘·/···· |
| A fortress, and been battered by long sieges; | 11 | ·/˘··/˘··/˘ |
| The iron clamps, that held the stones together, | 11 | ·/˘·····˘/˘ |
| Have been wrenched from them; but they stand erect | 10 | ········˘/ |
| And firm, as if they had been hewn and hollowed | 11 | ·········/˘ |
| Out of the solid rock, and were a part | 10 | ···/˘····· |
| Of the foundations of the world itself. | 10 | ··˘/˘···˘/ |
| CAVALIERI. | 4 | ˘˘/˘ |
| Your work, I say again, is nobler work, | 10 | ····˘/·/˘· |
| In so far as its end and aim are nobler; | 11 | ·········/˘ |
| And this is but a ruin, like the rest. | 10 | ·····/˘··· |
| Its vaulted passages are made the caverns | 11 | ·/˘/˘˘···/˘ |
| Of robbers, and are haunted by the ghosts | 10 | ·/˘··/˘··· |
| Of murdered men. | 4 | ·/˘· |
| A thousand wild flowers bloom | 7 | ·/˘·/˘· |
| From every chink, and the birds build their nests | 10 | ·/˘······· |
| Among the ruined arches, and suggest | 10 | ···/˘/˘·˘/ |
| New thoughts of beauty to the architect, | 10 | ···/˘··/˘· |
| Now let us climb the broken stairs that lead | 10 | ·····/˘··· |
| Into the corridors above, and study | 11 | ···/˘˘···/˘ |
| The marvel and the mystery of that art | 10 | ·/˘··/˘··· |
| In which I am a pupil, not a master. | 11 | ·····/˘··/˘ |
| All things must have an end; the world itself | 10 | ········˘/ |
| Must have an end, as in a dream I saw it. | 11 | ··········· |
| There came a great hand out of heaven, and touched | 10 | ·······/·· |
| The earth, and stopped it in its course. The seas | 10 | ·········· |
| Leaped, a vast cataract, into the abyss; | 10 | ···/˘···˘/ |
| The forests and the fields slid off, and floated | 11 | ·/˘······/˘ |
| Like wooded islands in the air. The dead | 10 | ·/˘/˘····· |
| Were hurled forth from their sepulchres; the living | 10 | ········/˘ |
| Were mingled with them, and themselves were dead,-- | 10 | ·/˘···˘/·· |
| All being dead; and the fair, shining cities | 11 | ·/˘····/˘/˘ |
| Dropped out like jewels from a broken crown. | 10 | ···/˘··/˘· |
| Naught but the core of the great globe remained, | 10 | ········˘/ |
| A skeleton of stone. And over it | 10 | ·/˘˘······ |
| The wrack of matter drifted like a cloud, | 10 | ···/˘/˘··· |
| And then recoiled upon itself, and fell | 10 | ··˘/··˘/·· |
| Back on the empty world, that with the weight | 10 | ···/˘····· |
| Reeled, staggered, righted, and then headlong plunged | 10 | ·/˘/˘··/·· |
| Into the darkness, as a ship, when struck | 10 | ···/˘····· |
| By a great sea, throws off the waves at first | 10 | ·········· |
| On either side, then settles and goes down | 10 | ·/˘··/˘··· |
| Into the dark abyss, with her dead crew. | 10 | ····˘/···· |
| CAVALIERI. | 4 | ˘˘/˘ |
| But the earth does not move. | 6 | ······ |
| Who knows? who knowst? | 4 | ···· |
| There are great truths that pitch their shining tents | 10 | ·······/˘· |
| Outside our walls, and though but dimly seen | 10 | ///····/˘· |
| In the gray dawn, they will be manifest | 10 | ·······/˘· |
| When the light widens into perfect day. | 10 | ···/˘··/·· |
| A certain man, Copernicus by name, | 10 | ·/˘·˘/˘˘·· |
| Sometime professor here in Rome, has whispered | 11 | /·˘/˘····/˘ |
| It is the earth, and not the sun, that moves. | 10 | ·········· |
| What I beheld was only in a dream, | 10 | ··˘/·/˘··· |
| Yet dreams sometimes anticipate events, | 10 | ··˘/˘/˘·˘/ |
| Being unsubstantial images of things | 10 | /····/˘˘·· |
| As yet unseen. | 4 | ··˘/ |
The reader shows the same poem with its rhymes coloured and a stress row above each line, the notes beside their stanzas, and any word's definition on a tap; the analysis page takes the whole book apart. How every part of this site was made.