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privilege of reading Homer to him, or of taking down the immortal accents which flowed from his lips.
These are perhaps foolish feelings. Yet we cannot be ashamed of them; nor shall we be sorry if what we have written shall in any degree excite them in other minds. We are not much in the habit of idolizing either the living or the dead. And we think that there is no more certain indication of a weak and ill-regulated intellect than that propensity which, for want of a better name, we will venture to christen Boswellism. But there are a few characters which have stood the closest scrutiny and the severest tests, which have been tried in the furnace and have proved pure, which have been weighed in the balance and have not been found wanting, which have been declared sterling by the general consent of mankind, and which are visibly stamped with the image and superscription of the Most High. These great men we trust that we know how to prize; and of these was Milton. The sight of his books, the sound of his name, are pleasant to us. His thoughts resemble those celestial fruits and flowers which the Virgin Martyr of Massinger sent down from the gardens of Paradise to the earth, and which were distinguished from the productions of other soils, not only by superior bloom and sweetness, but by miraculous efficacy to invigorate and to heal. They are powerful, not only to delight, but to elevate and purify. Nor do we envy the man who can study either the life or the writings of the great poet and patriot, without aspiring to emulate, not indeed the sublime works with which his genius has enriched our literature, but the zeal with which he labored for the public good, the fortitude with which he endured every private calamity, the lofty disdain with which he looked down on temptations and dangers, the deadly hatred which he bore to bigots and tyrants, and the faith which he so sternly kept with his country and with his fame.
MACHIAVELLI. (MARCH, 1827.)
Euvres Complètes de Machiavel, traduites par J. V. PÉRIER. Paris: 1825. THOSE who have attended to the practice of our literary tribunal are well aware that, by means of certain legal fictions similar to those of Westminster Hall, we are frequently enabled to take cognizance of cases lying beyond the sphere of our original jurisdiction. We need hardly say, therefore, that in the present instance M. Périer is merely a Richard Roe, who will not be mentioned in any subsequent stage of the proceedings, and whose name is used for the sole purpose of bringing Machiavelli into court.
We doubt whether any name in literary history be so generally odious as that of the man whose character and writings we now propose to consider. The terms in which he is commonly described would seem to import that he was the Tempter, the Evil Principle, the discoverer of ambition and revenge, the original inventor of perjury, and that, before the publication of his fatal Prince, there had never been a hypocrite, a tyrant or a traitor, a simulated virtue or a convenient crime. One writer gravely assures us that Maurice of Saxony learned all his fraudulent policy from that execrable volume. Another remarks that since it was translated into Turkish, the Sultans have been more addicted than formerly to the custom of strangling their brothers. Lord Lyttelton charges the poor Florentine with the manifold treasons of the House of Guise, and with the massacre of St. Bartholomew. Several authors have hinted that the Gunpowder Plot is to be primarily attributed to his doctrines, and seem to think that his effigy ought to be substituted for that of Guy Faux, in those processions by which the ingenuous youth of England annually commemorate the preservation of the Three Es
tates. The Church of Rome has pronounced his works accursed things. Nor have our own countrymen been backward in testifying their opinion of his merits. Out of his surname they have coined an epithet for a knave, and out of his Christian name a synonyme for the Devil.*
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. Principles which the most hardened ruffian would scarcely hint to his most trusted accomplice, or avow, without the disguise of some palliating sophism, even to his own mind, are professed without the slightest circumlocution, and assumed as the fundamental axioms of all political science.
It is not strange that ordinary readers should regard the author of such a book as the most depraved and shameless of human beings. Wise men, however, have always been inclined to look with great suspicion on the angels and demons of the multitude; and in the present instance several circumstances have led even superficial observers to question the justice of the vulgar decision. It is notorious that Machiavelli was through life a zealous republican. In the same year in which he composed his manual of Kingeraft, he suf fered imprisonment and torture in the cause of public liberty. It seems inconceivable that the martyr of freedom should have designedly acted as the apostle of tyranny. Several eminent writers have, therefore, endeavored to detect in this unfortunate performance some concealed meaning, more consistent with the character and conduct of the author than that which appears at the first glance.
Nick Machiavel had ne'er a trick,
Tho' he gave his name to our old Nick.
Hudibras, Part III. Canto I.
But we believe there is a schism on this subject among the antiquarians.
One hypothesis is that Machiavelli intended to practice on the young Lorenzo de Medici a fraud similar to that which Sunderland is said to have employed against our James the Second, and that he urged his pupil to violent and perfidious measures, as the surest means of accelerating the moment of deliverance and revenge. Another supposition, which Lord Bacon seems to countenance, is that the treatise was merely a piece of grave irony, intended to warn nations against the arts of ambitious men. It would be easy to show that neither of these solutions is consistent with many passages in The Prince itself. But the most decisive refutation is that which is furnished by the other works of Machiavelli. In all the writings which he gave to the public, and in all those which the research of editors has, in the course of three centuries, discovered, in his Comedies, designed for the entertainment of the multitude, in his Comments on Livy, intended for the perusal of the most enthusiastic patriots of Florence, in his History, inscribed to one of the most amiable and estimable of the popes, in his public despatches, in his private memoranda, the same obliquity of moral principle for which The Prince is so severely censured is more or less discernible. We doubt whether it would be possible to find, in all the many volumes of his compositions, a single expression indicating that dissimulation and treachery had ever struck him as discreditable.
After this, it may seem ridiculous to say that we are acquainted with few writings which exhibit so much elevation of sentiment, so pure and warm a zeal for the public good, or so just a view of the duties and rights of citizens, as those of Machiavelli. Yet so it is. And even from The Prince itself we could select many passages in support of this remark. To a reader of our age and country this inconsistency is, at first, perfectly bewildering. The whole man seems to be an enigma, a grotesque assemblage of incongruous qualities, selfishness and generosity, cruelty and benevolence, craft and simplicity, abject villany and romantic heroism. One sentence is such as a veteran diplomatist would scarcely write in cipher for the direction of his most confidential spy; the
next seems to be extracted from a theme composed by an ardent school-boy on the death of Leonidas. An act of dexterous perfidy, and an act of patriotic self-devotion, call forth the same kind and the same degree of respectful admiration. The moral sensibility of the writer seems at once to be morbidly obtuse and morbidly acute. Two characters altogether dissimilar are united in him. They are not merely joined, but interwoven. They are the warp and the woof of his mind; and their combination, like that of the variegated threads in shot silk, gives to the whole texture a glancing and ever-changing appearance. The explanation might have been easy, if he had been a very weak or a very affected man. But he was evidently neither the one nor the other. His works prove, beyond all contradiction, that his understanding was strong, his taste pure, and his sense of the ridiculous exquisitely keen.
This is strange: and yet the strangest is behind. There is no reason whatever to think that those amongst whom he lived saw anything shocking or incongruous in his writings. Abundant proofs remain of the high estimation in which both his works and his person were held by the most respectable among his contemporaries. Clement the Seventh patronized the publication of those very books which the Council of Trent, in the following generation, pronounced unfit for the perusal of Christians. Some members of the democratical party censured the Secretary for dedicating The Prince to a patron who bore the unpopular name of Medici. But to those immoral doctrines which have since called forth such severe reprehensions no exception appears to have been taken. The cry against them was first raised beyond the Alps, and seems to have been heard with amazement in Italy. The earliest assailant, as far as we are aware, was a countryman of our own, Cardinal Pole. The author of the Anti-Machiavelli was a French Protestant.
It is, therefore, in the state of moral feeling among the Italians of those times that we must seek for the real explanation of what seems most mysterious in the life and writings of this remarkable man. As this is a subject which sug