Michael Angelo. Good-Morning, Messer Bindo Altoviti!
What brings you forth so early?
The same reasonThat keeps you standing sentinel at your door,--The air of this delicious summer morning.What news have you from Florence?
Nothing new;The same old tale of violence and wrong.Since the disastrous day at Monte Murlo,When in procession, through San Gallo's gate,Bareheaded, clothed in rags, on sorry steeds,Philippo Strozzi and the good ValoriWere led as prisoners down the streets of Florence,Amid the shouts of an ungrateful people,Hope is no more, and liberty no more.Duke Cosimo, the tyrant, reigns supreme.
Florence is dead: her houses are but tombs;Silence and solitude are in her streets.
Ah yes; and often I repeat the wordsYou wrote upon your statue of the Night,There in the Sacristy of San Lorenzo:"Grateful to me is sleep; to be of stoneMore grateful, while the wrong and shame endure;To see not, feel not, is a benediction;Therefore awake me not; oh, speak in whispers."
Ah, Messer Bindo, the calamities,The fallen fortunes, and the desolationOf Florence are to me a tragedyDeeper than words, and darker than despair.I, who have worshipped freedom from my cradle,Have loved her with the passion of a lover,And clothed her with all lovely attributesThat the imagination can conceive,Or the heart conjure up, now see her dead,And trodden in the dust beneath the feetOf an adventurer! It is a griefToo great for me to bear in my old age.
I say no news from Florence: I am wrong,For Benvenuto writes that he is comingTo be my guest in Rome.
Those are good tidings.He hath been many years away from us.
Pray you, come in.
I have not time to stay,And yet I will. I see from here your houseIs filled with works of art. That bust in bronzeIs of yourself. Tell me, who is the masterThat works in such an admirable way,And with such power and feeling?
Words in this poem
- disastrous a.
- Full of unpropitious stellar influences; unpropitious; ill-boding. [Cf. F. désastreux. See Disaster.]
- monte n.
- A favorite gambling game among Spaniards, played with dice or cards. [Sp., lit., mountain, hence, the stock of cards remaining after laying out a certain number, fr. L. mons, montis, mountain.]
- bareheaded a.
- Having the head uncovered; as, a bareheaded girl.
- amid prep.
- In the midst or middle of; surrounded or encompassed by; among. [OE. amidde, amiddes, on midden, AS. on middan, in the middle, fr. midde the middle. The s is an adverbial ending, originally marking the genitive; the t is a la]
- ungrateful a.
- Not grateful; not thankful for favors; making no returns, or making ill return for kindness, attention, etc.; ingrateful. South.
- duke n.
- A leader; a chief; a prince. [F. duc, fr. L. dux, ducis, leader, commander, fr. ducere to lead; akin to AS. teón to draw; cf. AS. heretoga (here army) an army leader, general, G. herzog duke]
- wrote v. i.
- To root with the snout. See 1st Root. [OE. wroten. See 1st Root.]
- sacristy n.
- A apartment in a church where the sacred utensils, vestments, etc., are kept; a vestry. [F. sacristie, LL. sacristia, fr. L. sacer. See Sacred.]
- desolation n.
- The act of desolating or laying waste; destruction of inhabitants; depopulation. [F. désolation, L. desolatio.]
- conjure v. t.
- To call on or summon by a sacred name or in solemn manner; to implore earnestly; to adjure. [F. conjurer, fr. L. conjurare to swear together, to conspire; con- + jurare to swear. See Jury.]
- admirable a.
- Fitted to excite wonder; wonderful; marvelous. [L. admirabilis: cf. F. admirable.]
Definitions and etymologies from Webster's Unabridged Dictionary, 1913.
About this text
Michael Angelo. Good-Morning, Messer Bindo Altoviti! 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, Michael Angelo. Good-Morning, Messer Bindo Altoviti!, in The Complete Poetical Works (1839–1882), text of Project Gutenberg ebook #1365, Laurel, https://laurelpoetry.com/poem/longfellow-poems/michael-angelo-good-morning-messer-bindo-altoviti.html, id L18018.
Form and metre
Michael Angelo. Good-Morning, Messer Bindo Altoviti! is 48 lines in 10 verse paragraphs. It is unrhymed, as far as the pronouncing dictionary can tell. The metre is iambic pentameter, measured from the stress the words themselves fix (confidence 88%). 92% of its stressed syllables fall where the metre puts the beat. The lines average 9.5 syllables. 18 lines end on an unstressed syllable, a feminine ending. 27% of the lines run on without a stop at the line end.
See other poems in iambic pentameter, other poems in blank verse.
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.
- 5 ---A-A- words · night · lorenzo · stoneA · endure · benedictionA · whispers
- 7 AA- wrongA · comingA · rome
- 10 A---A- stayA · house · bronze · master · wayA · feeling
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. Read against iambic pentameter. How this is done.
| Line | Syl. | Stress |
|---|---|---|
| What brings you forth so early? | 7 | ·····/˘ |
| The same reason | 4 | ··/˘ |
| That keeps you standing sentinel at your door,-- | 10 | ···/˘/˘··· |
| The air of this delicious summer morning. | 11 | ····˘/˘/˘/˘ |
| What news have you from Florence? | 7 | ·····/˘ |
| Nothing new; | 3 | /˘· |
| The same old tale of violence and wrong. | 10 | ·····/˘˘·· |
| Since the disastrous day at Monte Murlo, | 11 | ··˘/˘··/˘·· |
| When in procession, through San Gallo's gate, | 10 | ··˘/˘··/˘· |
| Bareheaded, clothed in rags, on sorry steeds, | 11 | ········/˘· |
| Philippo Strozzi and the good Valori | 11 | ··········· |
| Were led as prisoners down the streets of Florence, | 11 | ···/˘····/˘ |
| Amid the shouts of an ungrateful people, | 11 | ˘/····˘/˘/˘ |
| Hope is no more, and liberty no more. | 10 | ·····/˘˘·· |
| Duke Cosimo, the tyrant, reigns supreme. | 10 | ·····/˘·˘/ |
| Florence is dead: her houses are but tombs; | 10 | /˘···/˘··· |
| Silence and solitude are in her streets. | 10 | /˘·/˘····· |
| Ah yes; and often I repeat the words | 10 | ···/˘·˘/·· |
| You wrote upon your statue of the Night, | 10 | ·····/···· |
| There in the Sacristy of San Lorenzo: | 11 | ···/˘˘··˘/˘ |
| "Grateful to me is sleep; to be of stone | 10 | /˘········ |
| More grateful, while the wrong and shame endure; | 10 | ·/˘·····˘/ |
| To see not, feel not, is a benediction; | 11 | ········˘/˘ |
| Therefore awake me not; oh, speak in whispers." | 11 | ··˘/·····/˘ |
| Ah, Messer Bindo, the calamities, | 10 | ·/˘···˘/˘˘ |
| The fallen fortunes, and the desolation | 11 | ·/˘/˘···˘/˘ |
| Of Florence are to me a tragedy | 10 | ·/˘····/˘˘ |
| Deeper than words, and darker than despair. | 10 | /˘···/˘·˘/ |
| I, who have worshipped freedom from my cradle, | 11 | ···/˘/˘··/˘ |
| Have loved her with the passion of a lover, | 11 | ·····/˘··/˘ |
| And clothed her with all lovely attributes | 10 | ·····/˘/˘· |
| That the imagination can conceive, | 10 | ··˘·˘/˘·˘/ |
| Or the heart conjure up, now see her dead, | 10 | ···/˘····· |
| And trodden in the dust beneath the feet | 10 | ·/˘······· |
| Of an adventurer! It is a grief | 10 | ··˘/˘˘···· |
| Too great for me to bear in my old age. | 10 | ·········· |
| I say no news from Florence: I am wrong, | 10 | ·····/˘··· |
| For Benvenuto writes that he is coming | 11 | ·˘˘/˘····/˘ |
| To be my guest in Rome. | 6 | ······ |
| Those are good tidings. | 5 | ···/˘ |
| He hath been many years away from us. | 10 | ···/˘·˘/·· |
| Pray you, come in. | 4 | ···· |
| I have not time to stay, | 6 | ······ |
| And yet I will. I see from here your house | 10 | ·········· |
| Is filled with works of art. That bust in bronze | 10 | ·········· |
| Is of yourself. Tell me, who is the master | 11 | ··˘/·····/˘ |
| That works in such an admirable way, | 10 | ·····/˘˘˘· |
| And with such power and feeling? | 8 | ···/˘·/˘ |
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