But no stories in the world have been told with more intensity than those of the conspiracies in the seventh and eighth books, and none have given a more intimate and accurate perception of the modes of thought and feeling at the time. The History ends with the death of Lorenzo de Medici in 1492. Enough has been said of its breadth of scope and originality of method. The spirit of clear flaming patriotism, of undying hope that will not in the darkest day despair, the plangent appeal to Italy for its own great sake to rouse and live, all these are found pre-eminently in the History as they are found wherever Machiavelli speaks from the heart of his heart. Of the style a foreigner may not speak. But those who are proper judges maintain that in simplicity and lucidity, vigour, and power, softness, elevation, and eloquence, the style of Machiavelli is 'divine,' and remains, as that of Dante among the poets, unchallenged and insuperable among all writers of Italian prose. [Sidenote: Other Works.] Though Machiavelli must always stand as a political thinker, an historian, and a military theorist it would leave an insufficient idea of his mental activities were there no short notice of his other literary works. With his passion for incarnating his theories in a single personality, he wrote the _Life of Castruccio Castracani_, a politico-military romance. His hero was a soldier of fortune born Lucca in 1281, and, playing with a free hand, Machiavelli weaves a life of adventure and romance in which his constant ideas of war and politics run through and across an almost imaginary tapestry. He seems to have intended to illustrate and to popularise his ideals and to attain by a story the many whom his discourses could not reach. In verse Machiavelli was fluent, pungent, and prosaic. The unfinished _Golden Ass_ is merely made of paragraphs of the _Discorsi_ twined into rhymes. And the others are little better. Countless pamphlets, essays, and descriptions may be searched without total waste by the very curious and the very leisurely. The many despatches and multitudinous private letters tell the story both of his life and his mind. But the short but famous _Novella di Belfagor Arcidiavolo_ is excellent in wit, satire, and invention. As a playwright he wrote, among many lesser efforts, one supreme comedy, _Mandragola_, which Macaulay declares to be better than the best of Goldoni's plays, and only less excellent than the very best of Molière's. Italian critics call it the finest play in Italian. The plot is not for nursery reading, but there are tears and laughter and pity and anger to furnish forth a copious author, and it has been not ill observed that _Mandragola_ is the comedy of a society of which _The Prince_ is the tragedy. [Sidenote: The End.]