best Latin writers; but the Casina is by no means one of his best plays; nor is it one which offers great facilities to an imitator. The story is as alien from modern habits of life, as the manner in which it is developed from the modern fashion of composition. The lover remains in the country and the heroine in her chamber during the whole action, leaving their fate to be decided by a foolish father, a cunning mother, and two knavish servants. Machiavelli has executed his task with judgment and taste. He has accommodated the plot to a different state of society, and has very dexterously connected it with the history of his own times. The relation of the trick put on the doting old lover is exquisitely humorous. It is far superior to the corresponding passage in the Latin comedy, and scarcely yields to the account which Falstaff gives of his ducking.

Two other comedies without titles, the one in prose, the other in verse, appear among the works of Machiavelli. The former is very short, lively enough, but of no great value. The latter we can scarcely believe to be genuine. Neither its merits nor its defects remind us of the reputed author. It was first printed in 1796, from a manuscript discovered in the celebrated library of the Strozzi. Its genuineness, if we have been rightly informed, is established solely by the comparison of hands. Our suspicions are strengthened by the circumstance, that the same manuscript contained a description of the plague of 1527, which has also, in consequence, been added to the works of Machiavelli. Of this last composition, the strongest external evidence would scarcely induce us to believe him guilty. Nothing was ever written more detestable in matter and manner. The narrations, the reflections, the jokes, the lamentations, are all the very worst of their respective kinds, at once trite and affected, threadbare tinsel from the Rag Fairs and Monmouth Streets of literature. A foolish schoolboy might write such a piece, and, after he had written it,

think it much finer than the incomparable introduction of the Decameron. But that a shrewd statesman, whose earliest works are characterised by manliness of thought and language, should, at near sixty years of age, descend to such puerility, is utterly inconceivable.

The little novel of Belphegor is pleasantly conceived, and pleasantly told. But the extravagance of the satire in some measure injures its effect., Machiavelli was unhappily married; and his wish to avenge his own cause and that of his brethren in misfortune, carried him beyond even the licence of fiction. Jonson seems to have combined some hints taken from this tale, with others from Boccaccio, in the plot of The Devil is an Ass, a play which, though not the most highly finished of his compositions, is perhaps that which exhibits the strongest proofs of genius.

The political correspondence of Machiavelli, first published in 1767, is unquestionably genuine, and highly valuable. The unhappy circumstances in which his country was placed during the greater part of his public life gave extraordinary encouragement to diplomatic talents. From the moment that Charles the Eighth descended from the Alps, the whole character of Italian politics was changed. The governments of the Peninsula ceased to form an independent system. Drawn from their old orbit by the attraction of the larger bodies which now approached them, they became mere satellites of France and Spain. All their disputes, internal and external, were decided by foreign influence. The contests of opposite factions were carried on, not as formerly in the senate-house or in the market-place, but in the antechambers of Louis and Ferdinand. Under these circumstances, the prosperity of the Italian States depended far more on the ability of their foreign agents, than on the conduct of those who were intrusted with the domestic administration. The ambassador had to discharge functions far more delicate than transmitting orders of

knighthood, introducing tourists, or presenting his brethren with the homage of his high consideration. He was an advocate to whose management the dearest interests of his clients were intrusted, a spy clothed with an inviolable character. Instead of consulting, by a reserved manner and ambiguous style, the dignity of those whom he represented, he was to plunge into all the intrigues of the court at which he resided, to discover and flatter every weakness of the prince, and of the favourite who governed the prince, and of the lacquey who governed the favourite. He was to compliment the mistress and bribe the confessor, to panegyrize or supplicate, to laugh or weep, to accommodate himself to every caprice, to lull every suspicion, to treasure every hint, to be every thing, to observe every thing, to endure every thing. High as the art of political intrigue had been carried in Italy, these were times which required it all.

On these arduous errands Machiavelli was frequently employed. He was sent to treat with the King of the Romans and with the Duke of Valentinois. He was twice ambassador at the Court of Rome, and thrice at that of France. In these missions, and in several others of inferior importance, he acquitted himself with great dexterity. His despatches form one of the most amusing and instructive collections extant. The narratives are clear and agreeably written; the remarks on men and things clever and judicious. The conversations are reported in a spirited and characteristic manner. We find ourselves introduced into the presence of the men who, during twenty eventful years, swayed the destinies of Europe. Their wit and their folly, their fretfulness and their merriment, are exposed to us. We are admitted to overhear their chat, and to watch their familiar gestures. It is interesting and curious to recognise, in circumstances which elude the notice of historians, the feeble violence and shallow cunning of Louis the Twelfth; the bustling insignificance of Maximilian,

cursed with an impotent pruriency for renown, rash yet timid, obstinate yet fickle, always in a hurry, yet always too late; the fierce and haughty energy which gave dignity to the eccentricities of Julius; the soft and graceful manners which masked the insatiable ambition and the implacable hatred of Cæsar Borgia.

We have mentioned Cæsar Borgia. It is impossible not to pause for a moment on the name of a man in whom the political morality of Italy was so strongly personified, partially blended with the sterner lineaments of the Spanish character. On two important occasions Machiavelli was admitted to his society; once, at the moment when Cæsar's splendid villany achieved its most signal triumph, when he caught in one snare and crushed at one blow all his most formidable rivals; and again when, exhausted by disease and overwhelmed by misfortunes, which no human prudence could have averted, he was the prisoner of the deadliest enemy of his house. These interviews between the greatest speculative and the greatest practical statesman of the age are fully described in the Correspondence, and form perhaps the most interesting part of it. From some passages in The Prince, and perhaps also from some indistinct traditions, several writers have supposed a connection between those remarkable men much closer than ever existed. The Envoy has even been accused of prompting the crimes of the artful and merciless tyrant. But from the official documents it is clear that their intercourse, though ostensibly amicable, was in reality hostile. It cannot be doubted, however, that the imagination of Machiavelli was strongly impressed, and his speculations on government coloured, by the observations which he made on the singular character and equally singular fortunes of a man who under such disadvantages had achieved such exploits; who, when sensuality, varied through innumerable forms, could no longer stimulate his sated mind, found a more powerful and durable excitement

in the intense thirst of empire and revenge; who emerged from the sloth and luxury of the Roman purple the first prince and general of the age; who, trained in an unwarlike profession, formed a gallant army out of the dregs of an unwarlike people; who, after acquiring sovereignty by destroying his enemies, acquired popularity by destroying his tools; who had begun to employ for the most salutary ends the power which he had attained by the most atrocious means; who tolerated within the sphere of his iron despotism no plunderer or oppressor but himself; and who fell at last amidst the mingled curses and regrets of a people of whom his genius had been the wonder, and might have been the salvation. Some of those crimes of Borgia which to us appear the most odious would not, from causes which we have already considered, have struck an Italian of the fifteenth century with equal horror. Patriotic feeling also might induce Machiavelli to look with some indulgence and regret on the memory of the only leader who could have defended the independence of Italy against the confederate spoilers of Cambray.

On this subject Machiavelli felt most strongly. Indeed the expulsion of the foreign tyrants, and the restoration of that golden age which had preceded the irruption of Charles the Eighth, were projects which, at that time, fascinated all the master-spirits of Italy. The magnificent vision delighted the great but ill-regulated mind of Julius. It divided with manuscripts and sauces, painters and falcons, the attention of the frivolous Leo. It prompted the generous treason of Morone. It imparted a transient energy to the feeble mind and body of the last Sforza. It excited for one moment an honest ambition in the false heart of Pescara. Ferocity and insolence were not among the vices of the national character. To the discriminating cruelties of politicians, committed for great ends on select victims, the moral code of the Italians was too indulgent. But though they might