The Prince. Никколо МакиавеллиЧитать онлайн книгу.

      I have noted down what I have gained from their conversation, and have composed a small work on ’Principalities,’ where I pour myself out as fully as I can in meditation on the subject, discussing what a principality is, what kinds there are, how they can be acquired, how they can be kept, why they are lost: and if any of my fancies ever pleased you, this ought not to displease you: and to a prince, especially to a new one, it should be welcome: therefore I dedicate it to his Magnificence Giuliano. Filippo Casavecchio has seen it; he will be able to tell you what is in it, and of the discourses I have had with him; nevertheless, I am still enriching and polishing it.”

      The “little book” suffered many vicissitudes before attaining the form in which it has reached us. Various mental influences were at work during its composition; its title and patron were changed; and for some unknown reason it was finally dedicated to Lorenzo de’ Medici. Although Machiavelli discussed with Casavecchio whether it should be sent or presented in person to the patron, there is no evidence that Lorenzo ever received or even read it: he certainly never gave Machiavelli any employment. Although it was plagiarized during Machiavelli’s lifetime, The Prince was never published by him, and its text is still disputable.

      Machiavelli concludes his letter to Vettori thus: “And as to this little thing [his book], when it has been read it will be seen that during the fifteen years I have given to the study of statecraft I have neither slept nor idled; and men ought ever to desire to be served by one who has reaped experience at the expense of others. And of my loyalty none could doubt, because having always kept faith I could not now learn how to break it; for he who has been faithful and honest, as I have, cannot change his nature; and my poverty is a witness to my honesty.”

      Before Machiavelli had got The Prince off his hands he commenced his “Discourse on the First Decade of Titus Livius,” which should be read concurrently with The Prince. These and several minor works occupied him until the year 1518, when he accepted a small commission to look after the affairs of some Florentine merchants at Genoa. In 1519 the Medicean rulers of Florence granted a few political concessions to her citizens, and Machiavelli with others was consulted upon a new constitution under which the Great Council was to be restored; but on one pretext or another it was not promulgated.

      In 1520 the Florentine merchants again had recourse to Machiavelli to settle their difficulties with Lucca, but this year was chiefly remarkable for his re-entry into Florentine literary society, where he was much sought after, and also for the production of his “Art of War.” It was in the same year that he received a commission at the instance of Cardinal de’ Medici to write the “History of Florence,” a task which occupied him until 1525. His return to popular favour may have determined the Medici to give him this employment, for an old writer observes that “an able statesman out of work, like a huge whale, will endeavour to overturn the ship unless he has an empty cask to play with.”

      When the “History of Florence” was finished, Machiavelli took it to Rome for presentation to his patron, Giuliano de’ Medici, who had in the meanwhile become pope under the title of Clement VII. It is somewhat remarkable that, as, in 1513, Machiavelli had written The Prince for the instruction of the Medici after they had just regained power in Florence, so, in 1525, he dedicated the “History of Florence” to the head of the family when its ruin was now at hand. In that year the battle of Pavia destroyed the French rule in Italy, and left Francis I a prisoner in the hands of his great rival, Charles V. This was followed by the sack of Rome, upon the news of which the popular party at Florence threw off the yoke of the Medici, who were once more banished.

      Machiavelli was absent from Florence at this time, but hastened his return, hoping to secure his former office of secretary to the “Ten of Liberty and Peace.” Unhappily he was taken ill soon after he reached Florence, where he died on 22nd June 1527.

      The Man And His Works

      No one can say where the bones of Machiavelli rest, but modern Florence has decreed him a stately cenotaph in Santa Croce, by the side of her most famous sons; recognizing that, whatever other nations may have found in his works, Italy found in them the idea of her unity and the germs of her renaissance among the nations of Europe. Whilst it is idle to protest against the world-wide and evil signification of his name, it may be pointed out that the harsh construction of his doctrine which this sinister reputation implies was unknown to his own day, and that the researches of recent times have enabled us to interpret him more reasonably. It is due to these inquiries that the shape of an “unholy necromancer,” which so long haunted men’s vision, has begun to fade.

      Machiavelli was undoubtedly a man of great observation, acuteness, and industry; noting with appreciative eye whatever passed before him, and with his supreme literary gift turning it to account in his enforced retirement from affairs. 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. Men are still the dupes of their simplicity and greed, as they were in the days of Alexander VI. The cloak of religion still conceals the vices which Machiavelli laid bare in the character of Ferdinand of Aragon. Men will not look at things as they really are, but as they wish them to be – and are ruined. In politics there are no perfectly safe courses; prudence consists in choosing the least dangerous ones. Then – to pass to a higher plane – Machiavelli reiterates that, although crimes may win an empire, they do not win glory. Necessary wars are just wars, and the arms of a nation are hallowed when it has no other resource but to fight.

      It is the cry of a far later day than Machiavelli’s