_Michael Angelo_ is not a play, but a series of dramatic incidents from the life of the great sculptor, illustrating his character, his thought, his work, his friendships. Many passages display a strength not commonly associated with Longfellow’s poetic genius. Little is wanting to the delineation of Michael Angelo to create the effect of massiveness. From the first monologue where he sits in his studio, musing over his picture of the ‘Last Judgment,’ to the midnight scene where Vasari finds him working on the statue of the Dead Christ, the effect is cumulative. The other characters are no less skilfully wrought. Vittoria Colonna is a beautiful conception, lofty yet human. Equally attractive with a more earthly loveliness is Julia Gonzaga, her friend, she to whom one to-day was worth a thousand yesterdays. Titian, Cellini, the Pope and his cardinals, Vasari, Sebastiano, the old servant Urbino, and the aged monk at Monte Luca effectively sustain the parts assigned them, and unite to bring into always stronger relief the character of the unique genius whom Longfellow has made his central figure. VIII LAST WORKS The translation of Dante was a difficult task to which Longfellow gave himself for years with something like consecration. It is satisfactory or it is not, according to the point of view. He who holds that verse can never be translated into verse, and that a poem suffers least by being rendered in prose, will make no exception in Longfellow’s case. On the other hand, the reader who is not, and who has neither the opportunity nor the power to become a scholar in Italian, owes Longfellow an inestimable debt of gratitude. The unpoetic accuracy of which some complain counts for a virtue. The translation remains, with all that can be said against it, the work of a poet. As age came on, Longfellow’s own verse, instead of losing in charm, the rather increased. _Kéramos_, _Ultima Thule_, and _In the Harbor_ contain many of his loveliest and most gracious poems. ‘Not to be tuneless in old age’ was his happy fortune. * * * * * His skill in the sentimental, homely, and obviously moral has blinded not a few readers to the larger aspects of Longfellow’s work. One wearies, no doubt, of the ethical lesson that comes with the inevitableness of fate. But there is no need of impatience, Longfellow does not invariably preach. Besides, all tastes must be taken into account. Many prefer the ethical lesson, unmistakably put.