He does not present himself, nor is he depicted by his contemporaries, as a type of that rare combination, the successful statesman and author, for he appears to have been only moderately prosperous in his several embassies and political employments.

He was misled by Catherina Sforza, ignored by Louis XII, overawed by Cesare Borgia; several of his embassies were quite barren of results; his attempts to fortify Florence failed, and the soldiery that he raised astonished everybody by their cowardice.

In the conduct of his own affairs he was timid and time-serving; he dared not appear by the side of Soderini, to whom he owed so much, for fear of compromising himself; his connection with the Medici was open to suspicion, and Giuliano appears to have recognized his real forte when he set him to write the "History of Florence," rather than employ him in the state.
And it is on the literary side of his character, and there alone, that we find no weakness and no failure.
Although the light of almost four centuries has been focused on "The Prince," its problems are still debatable and interesting, because they are the eternal problems between the ruled and their rulers.

Such as they are, its ethics are those of Machiavelli's contemporaries; yet they cannot be said to be out of date so long as the governments of Europe rely on material rather than on moral forces.

Its historical incidents and personages become interesting by reason of the uses which Machiavelli makes of them to illustrate his theories of government and conduct.
Leaving out of consideration those maxims of state which still furnish some European and eastern statesmen with principles of action, "The Prince" is bestrewn with truths that can be proved at every turn.