At the entrance, he says, he pulled off his peasant clothes covered

with the dust and dirt of that immediate life, washedhimself, put

on his "noble court dress," closed the door on the world of toiling

and getting, private loving, privatehating and personal regrets,

sat down with a sigh of contentment to those widerdreams.

I like tothink 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 weknow 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 thatnobly dressed andnoblydreaming writer at the

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