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Machiavelli: Princes
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The Vita di Castruccio was composed at Lucca, whither Machiavelli had been sent on a mission. This so-called biography of the medieval adventurer who raised himself by personal ability and military skill to the tyranny of several Tuscan cities must be regarded in the light of an historical romance. Dealing freely with the outline of Castruccio's career, as he had previously dealt with Cesare Borgia, he sketched his own ideal of the successful prince. Cesare Borgia had entered into the Principe as a representative figure rather than an actual personage; so now conversely the theories of the Principe assumed the outward form and semblance of Castruccio. In each case history is blent with speculation in nearly the same proportions. But Castruccio, being farther from the writer's own experience, bears weaker traits of personality.
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Machiavelli's public life was largely occupied with events arising out of the ambitions of Pope Alexander VI and his son, Cesare Borgia, the Duke Valentino, and these characters fill a large space of The Prince. Machiavelli never hesitates to cite the actions of the duke for the benefit of usurpers who wish to keep the states they have seized; he can, indeed, find no precepts to offer so good as the pattern of Cesare Borgia's conduct, insomuch that Cesare is acclaimed by some critics as the "hero" of The Prince. Yet in The Prince the duke is in point of fact cited as a type of the man who rises on the fortune of others, and falls with them; who takes every course that might be expected from a prudent man but the course which will save him; who is prepared for all eventualities but the one which happens; and who, when all his abilities fail to carry him through, exclaims that it was not his fault, but an extraordinary and unforeseen fatality.
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Between 1503 to 1506, Machiavelli was responsible for the Florentine militia including the defense of the city. He distrusted mercenaries (a philosophy expounded at length in the Discorsi and in Il Principe) and much preferred a citizen militia. In August 1512, following a tangled series of battles, treaties, and alliances, the Medici with the help of Pope Julius II regained power in Florence and the republic was dissolved. Machiavelli, having played a significant role in the republic's anti-Medici government, was removed from office and in 1513 he was accused of conspiracy and arrested. Although tortured on the rack he denied his involvement and was eventually released. He retired to his estate at Sant'Andrea in Percussina near Florence and began writing the treatises that would ensure his place in the development of political philosophy and conduct.
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On the return of the Medici, Machiavelli, who for a few weeks had vainly hoped to retain his office under the new masters of Florence, was dismissed by decree dated November 7, 1512. Shortly after this he was accused of complicity in an abortive conspiracy against the Medici, imprisoned, and put to the question by torture. The new Medicean people, Pope Leo X, procured his release, and he retired to his small property at San Casciano, near Florence, where he devoted himself to literature. In a letter to Francesco Vettori, dated December 13, 1513, he has left a very interesting description of his life at this period, which elucidates his methods and his motives in writing The Prince. After describing his daily occupations with his family and neighbours, he writes: "The evening being come, I return home and go to my study; at the entrance I pull off my peasant- clothes, covered with dust and dirt, and put on my noble court dress, and ... becomingly re-clothed I pass into the ancient courts of the men of old, where, being lovingly received by them, I am fed with that food which is mine alone; where I do not hesitate to speak with them, and to ask for the reason of their actions, and they in their benignity answer me; and for four hours I feel no weariness, I forget every trouble, poverty does not dismay, death does not terrify me; I am possessed entirely by those great men. And because Dante says:
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Machiavelli's formulation of the historical principles inherent in Roman government may be found in his Discourse on the First Ten Books of Titus Livius (1531; trans. 1636), a commentary on the History of Rome by the Roman historian Livy. In this study Machiavelli departs from medieval theocratic concepts of history, ascribing historical events to the demands of human nature and the effects of chance. Among his other works are Dell'arte della guerra (On the Art of War, 1521), which describes the advantages of conscripted over mercenary troops. The Istorie Fiorentine (History of Florence, 1525) interprets the chronicles of the city, in terms of historical causality. Machiavelli was ... the author of the biography Vita di Castruccio Castracani (Life of Castruccio Castracani, 1520), a number of poems, and several plays, of which the best known is Mandragola (The Mandrake, 1524), a biting and bawdy satire on the corruption of contemporary Italian society.
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Machiavelli was superficially acquainted with Gematria, the system by which the Hebrew alphabet is translated into numbers. For example, and as Leo Strauss discerned, Machiavelli makes systematic use of the number 13 (and its multiples) both in The Prince and in The Discourses.15 It so happens that 13 is the numerical value of the Hebrew word meaning “one” – echad. The “prince” is the one par excellence. The “prince,” from the Latin principi, denotes the “first thing,” the “beginning,” something radically “new.” “A New Prince Must Make Everything New” is the title of chapter 26 of The Discourses, where Machiavelli subtly indicates that a new prince must imitate God. It can hardly be a coincidence that The Prince consists of 26 chapters: 26 is the numerical value of the four Hebrew letters comprising the Tetragrammaton, the Ineffable Name of God.16
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