“Bearing in mind all the matters previously discussed, I ask myself whether the present time is appropriate for welcoming a new ruler in Italy, and whether there is matter that provides an opportunity for a few-seeing and able man to mold it into a form that will bring honour to him and its inhabitants.”
-Machiavelli
As we’ve been considering the seemingly timeless quality of the figure of the stage Machiavel, it is worth remembering that the archetype is drawn from a series of highly specific moments in history. The quote at the top of the page reminds us that Machiavelli is writing during a period of intense civil unrest in Italy, following a major foreign invasion and the dissolution of a number of seemingly stable governments and it was written as a gift for a single man—Lorenzo de’ Medici.[1] Even so, while English audiences found themselves largely disinterested with Machiavelli’s specific appeals to Italian cultural history or his interest in the maintenance of armies and auxiliaries, there was something about the Florentine that caught fire in the cultural imagination of England. Through stage representations, his political ideas were spread to a population that would have otherwise had little access to them,[2] and the staging tropes that helped to disseminate a basic overview of Machiavellian thought have remained with us ever since.
Over the last few weeks, I’ve been looking at popular representations of Machiavellian politics with an eye turned towards the ways in which contemporary audiences share the same fascination with Machiavelli that defined early modern representations. For the last 400 years, Anglophonic audiences have been fascinated by attempts to understand Machiavelli’s political beliefs, and I have only touched upon a small sample of the most popular contemporary representations. The goal here has been less to say anything about Machiavelli’s actual politics than to examine the process by which cultural understandings of those politics end up in our popular fiction. The stage Machiavel offers an interesting case study for examining the ways in which popular representations of political philosophy can make those theories more accessible and the ways in which those same representations can participate in shaping public discourse concerning those theories. While printers would eventually receive license to legally print The Prince in England, decades of being represented as a ruthless stage villain certainly colored the reading practices of English audiences.
This in turned has dramatically impacted our cultural perception of virtually everything connected to Machiavelli. Period fiction set during the early 16th century frequently turns to him as a ready-made villain in the same way that Christopher Marlowe utilized Machiavelli to introduce The Jew of Malta.[3] He has appeared as a character in texts ranging from Showtime’s The Borgias to Ubisoft’s Assassin’s Creed II.
Just as his name became shorthand for a duplicitous schemer, his person has entered into the stable of stock historical villains. Just as stage representations of Machiavellianism would brand any act that was remotely morally questionable as Machiavellian, modern pop culture representations label any act of political scheming as inherently connected to Machiavellian thought. Even though the characters that I examined in the last few weeks of posts frequently display a number of profoundly non-Machiavellian beliefs,[4] the image of the stage Machiavel still informs the way in which we understand those characters.
In closing up my month of blog posts, I hope to have demonstrated the ways in which the tropes of the early modern stage have remained with us throughout the past five centuries. In the wake of the 400th anniversary of Shakespeare’s death, it becomes worth considering the ways in which it isn’t simply the texts of the early modern theatre that have stuck in our imaginations. While we certainly imagine Machiavellianism differently than audiences did in the 16th century, many of the same questions and concerns still exist in the fiction that we create. We may not be interested in the complex history of English kingship that exists in The History of Henry IV part 1, but we do still have an investment in the questions that the play asks about how a ruler should act. While representations of Machiavellianism are not the only entry point into understanding the continuities that exist between early modern and contemporary practices of representation, the stage Machiavel does provide a fairly clear example of an early modern stage trope that continues to capture our imagination well into the 21st century.
[1] The Prince was not published until 1532, five years after Machiavelli’s death.
[2] The Prince could not be legally published in England during the 16th century and literacy rates were fairly low.
[3] This habit of making Machiavelli a central character in narratives about 16th century Florence dates back to the mid-19th century at the latest, as George Eliot’s Romola features extended cameos by a pre-Prince Machiavelli.
[4] I noted last week that Machiavelli would likely have hated Frank Underwood for being a self-invested conspirator. Beyond this, Cersei Lannister would likely be chided for her absolute disregard for the opinions of the populace and the fact that so few people actual trust Peytr Baelish suggests that he lacks the fox-like qualities that Machiavelli lauds in his schemers.
Evan Hixon is a first year PhD student in the English Department. His studies focus on Early Modern British theater with an emphasis on Shakespeare, political theory and Anglo-Italian relations. His current research work examines the rise of English Machiavellian political thought during the reign of Elizabeth I.
Reblogged this on Queerly Different.