It was so with Machiavelli. I picture him at San Casciano as he lived in retirement upon his property after the fall of the Republic, perhaps with a twinge of the torture that punished his conspiracy still lurking in his limbs. Such twinges could not stop his dreaming. Then it was “The Prince” was written. All day he went about his personal affairs, saw homely neighbours, dealt with his family, gave vent to everyday passions. He would sit in the shop of Donato del Corno gossiping curiously among vicious company, or pace the lonely woods of his estate, book in hand, full of bitter meditations. In the evening he returned home and went to his study. At the entrance, he says, he pulled off his peasant clothes covered with the dust and dirt of that immediate life, washed himself, put on his “noble court dress,” closed the door on the world of toiling and getting, private loving, private hating and personal regrets, sat down with a sigh of contentment to those wider dreams. I like to think of him so, with brown books before him lit by the light of candles in silver candlesticks, or heading some new chapter of “The Prince,” with a grey quill in his clean fine hand. So writing, he becomes a symbol for me, and the less none because of his animal humour, his queer indecent side, and because of such lapses into utter meanness as that which made him sound the note of the begging-letter writer even in his “Dedication,” reminding His Magnificence very urgently, as if it were the gist of his matter, of the continued malignity of fortune in his affairs. These flaws complete him. They are my reason for preferring him as a symbol to Plato, of whose indelicate side we know nothing, and whose correspondence with Dionysius of Syracuse has perished; or to Confucius who travelled China in search of a Prince he might instruct, with lapses and indignities now lost in the mists of ages. They have achieved the apotheosis of individual forgetfulness, and Plato has the added glory of that acquired beauty, that bust of the Indian Bacchus which is now indissolubly mingled with his tradition. They have passed into the world of the ideal, and every humbug takes his freedoms with their names. But Machiavelli, more recent and less popular, is still all human and earthly, a fallen brother--and at the same time that nobly dressed and nobly dreaming writer at the desk.