There is a lesson to be learnt from the fact that this book of Machiavelli's, written four centuries ago in Italy, is so apt here to-day. We must take this exposition as the creed of Empire and have no truck with the Empire. It may be argued that the old arts will be no longer practised on us. Let the new supporters of the Empire know that by the new alliance they should practise these arts on other people, which would be infamy. We are not going to hold other people down; we are going to encourage them to stand up. If it means a further fight we have plenty of stimulus still. Our oppression has been doubly bitter for having been mean. The tyranny of a strong mind makes us rage, but the tyranny of a mean one is altogether insufferable. The cruelty of a Cromwell can be forgotten more easily than the cant of a Macaulay. When we read certain lines we go into a blaze, and that fire will burn till it has burnt every opposition out. In his essay on Milton, Macaulay having written much bombast on the English Revolution, introduces this characteristic sentiment: "One part of the Empire there was, so unhappily circumstanced, that at that time its misery was necessary to our happiness and its slavery to our freedom." For insolence this would be hard to beat. Let it be noted well. It is the philosophy of the "Predominant Partner." If he had thanked God for having our throats to cut, and cut them with loud gratitude like Cromwell, a later generation would be incensed. But this other attitude is the gall in the cup. Macaulay is, of course, shocked by Machiavelli's "Prince." In his essay on Machiavelli we read: "It is indeed scarcely possible for any person not well acquainted with the history and literature of Italy to read without horror and amazement the celebrated treatise which has brought so much obloquy on the name of Machiavelli. Such a display of wickedness, naked, yet not ashamed, such cool, judicious, scientific atrocity, seemed rather to belong to a fiend than to the most depraved of men." But, later, in the same essay, is a valuable sidelight. He writes of Machiavelli as a man "whose only fault was that, having adopted some of the maxims then generally received, he arranged them most luminously and expressed them more forcibly than any other writer." Here we have the truth, of course not so intended, but evident: Machiavelli's crime is not for the sentiments he entertained but for writing them down luminously and forcibly--in other words, for giving the show away.