But his genius is in harmony with itself; and [82] just as in the products of his art we find resources of sweetness within their exceeding strength, so in his own story also, bitter as the ordinary sense of it may be, there are select pages shut in among the rest-- pages one might easily turn over too lightly, but which yet sweeten the whole volume. The interest of Michelangelo's poems is that they make us spectators of this struggle; the struggle of a strong nature to adorn and attune itself; the struggle of a desolating passion, which yearns to be resigned and sweet and pensive, as Dante's was. It is a consequence of the occasional and informal character of his poetry, that it brings us nearer to himself, his own mind and temper, than any work done only to support a literary reputation could possibly do. His letters tell us little that is worth knowing about him--a few poor quarrels about money and commissions. But it is quite otherwise with these songs and sonnets, written down at odd moments, sometimes on the margins of his sketches, themselves often unfinished sketches, arresting some salient feeling or unpremeditated idea as it passed. And it happens that a true study of these has become within the last few years for the first time possible. A few of the sonnets circulated widely in manuscript, and became almost within Michelangelo's own lifetime a subject of academical discourses. But they were first collected in a volume in 1623 by the great-nephew of Michelangelo, Michelangelo Buonarroti the younger. He omitted [83] much, re-wrote the sonnets in part, and sometimes compressed two or more compositions into one, always losing something of the force and incisiveness of the original. So the book remained, neglected even by Italians themselves in the last century, through the influence of that French taste which despised all compositions of the kind, as it despised and neglected Dante. "His reputation will ever be on the increase, because he is so little read," says Voltaire of Dante.-- But in 1858 the last of the Buonarroti bequeathed to the municipality of Florence the curiosities of his family. Among them was a precious volume containing the autograph of the sonnets. A learned Italian, Signor Cesare Guasti, undertook to collate this autograph with other manuscripts at the Vatican and elsewhere, and in 1863 published a true version of Michelangelo's poems, with dissertations and a paraphrase.*