Machiavelli

Niccolò di Bernardo dei Machiavelli (3 May 1469 – 21 June 1527) was an Italian philosopher, humanist, and writer based in Florence during the Renaissance. He is one of the main founders of modern political science.[1] He was a diplomat, political philosopher, playwright, and a civil servant of the Florentine Republic. He also wrote comedies, carnival songs, poetry, and some of the most well-known personal correspondence in the Italian language. His position in the regime of Florence as Secretary to the Second Chancery of the Republic of Florence lasted from 1498 to 1512, the period in which the de' Medici were not in power. The period when most of his well-known writing was done was after this, when they recovered power, and Machiavelli was removed from all functions.

The Prince
Main article: The Prince


Lorenzo di Piero de' Medici to whom the final version of the Prince was dedicated.
Niccolò Machiavelli’s best-known book concentrates on the possibility of a "new prince", rather than the more traditional subject of a hereditary prince. To retain power, the hereditary prince must carefully maintain the socio-political institutions to which the people are accustomed; whereas a new prince has the more difficult task in ruling, since he must first stabilize his new-found power in order to build an enduring political structure. That requires the prince being concerned with reputation but also being willing to act immorally. As a political scientist, Machiavelli emphasises the occasional need for the methodical exercise of brute force, deceit, and so on.

Notwithstanding some mitigating themes, the Catholic Church proscribed The Prince, registering it to the Index Librorum Prohibitorum, and humanists also viewed the book negatively, among them, Erasmus of Rotterdam. As a treatise, its primary intellectual contribution to the history of political thought is the fundamental break between political Realism and political Idealism — thus, The Prince is a manual to acquiring and keeping political power. In contrast with Plato and Aristotle, Machiavelli insisted that an imaginary ideal society is not the model for a prince to orient himself by.

Concerning the differences and similarities in Machiavelli's advice to ruthless and tyrannical princes in The Prince and his more republican exhortations in Discourses on Livy, many have concluded that The Prince although written in the form of advice for a monarchical prince, contains arguments for the superiority of republican regimes, similar to those found in the Discourses. In the 18th century the work was even called a satire, for example by Jean-Jacques Rousseau. More recently, commentators such as Leo Strauss and Harvey Mansfield have agreed that the Prince can be read as having a deliberate comical irony. Other commentators have not seen the irony as deliberate comedy, but most commentators agree that the Prince is republican to some extent.

Antonio Gramsci argued that Machiavelli's audience for this work was not even the ruling class but the common people because the rulers already knew these methods through their education.

Love

Love is the emotion of strong affection and personal attachment. In philosophical context, love is a virtue representing all of human kindness, compassion, and affection. In religious context, love is not just a virtue, but the basis for all being ("God is love"), and the foundation for all divine law (Golden Rule). Love may also be described as actions towards others (or oneself) based on compassion.[3] Or as actions towards others based on affection.

The word love can refer to a variety of different feelings, states, and attitudes, ranging from generic pleasure ("I loved that meal") to intense interpersonal attraction ("I love my partner"). "Love" can also refer specifically to the passionate desire and intimacy of romantic love, to the sexual love of eros (cf. Greek words for love), to the emotional closeness of familial love, or to the platonic love that defines friendship, to the profound oneness or devotion of religious love. This diversity of uses and meanings, combined with the complexity of the feelings involved, makes love unusually difficult to consistently define, even compared to other emotional states.

Love in its various forms acts as a major facilitator of interpersonal relationships and, owing to its central psychological importance, is one of the most common themes in the creative arts.