Machiavelli as a dramatist
Niccolò Machiavelli started working for the chancery of the Republic of Florence at the age of 29, traveling on diplomatic missions around Europe.
According to historian Leo Strauss, Machiavelli did not censor his methods and was honest in his political advice, earning him an infamous reputation.
Machiavelli uses the example of the ancient Greek tyrant Agathocles, who had the entire elite of Syracuse killed in order to seize control of the government.
According to The Prince's translator, Robert M. Adams, "he was an instinctive dramatist, and one of the dramatic effects he most enjoyed producing was shock and outrage.
[5] Machiavelli used those words, fortuna and virtù, literally and figuratively in both pieces to demonstrate that immorality is acceptable when the ends justify the means.
In Mandragola, Machiavelli dramatically portrays these ideas by making the protagonist boast virtù and his leading lady encompass fortuna.
[6] By having the characters overstep each other to better themselves, Machiavelli uses commedia dell'arte (artful comedy) to portray recent Florentine political events.
The styling techniques and accumulated knowledge permit Machiavelli's characters to be multiple personalities throughout history, tying back directly to The Prince and relating to current day.
[11] In the resolution Machiavelli exhibits his acceptance of deceit as a valid means of attaining one's goal by rewarding his dishonest characters with success, instead of punishing them with failure.
Dramatist Machiavelli incorporates the traditional functions of classical rhetoric-reason (logos), character (ethos) and emotion (pathos)- into the play to collectively build a vivid, as well as subtlety instructive experience for his audience.
Ligurio assembles the spectrum of schemes in the play, from the Mandrake potion, to Frate Timoteo's assistance, to Callimaco's disguise and capture by Nicia.
As an untrustworthy member of the Christian Church, Friar Timoteo takes advantage of his powers in order to exploit innocent women.
(Machiavelli, 34)[17] Friar Timoteo maintains a personal justification for his actions, blatantly disregarding the shame of his decisions for the financial benefits of the deal.
Callimaco impersonates a doctor who possesses a fabricated drug capable of killing the man with whom Lucrezia sleeps with and bringing her a child.
Some theorize that Callimaco is Machiavelli's described leader in The Prince as he follows what is natural to man, to rule, to attain things, and to consolidate power through scheming social and political structures.
[23] Her defeat is generally viewed as the fall of a virtuous rule by corrupt means or the upheaval of an ignorant reign to ensure a more stable order.
As a virtuous woman, Lucrezia surrenders her virtue not to the charming Callimaco but to the treachery of Timoteo, the corrupt friar, and the stupidity of her husband.
