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THE PRINCE

Niccolò Machiavelli/Tim Parks

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interaction of individual and collective psychologies, the latter fairly predictable, the former infinitely varied, the two together dangerously volatile. The book is not a care- ful elaboration of a rigid, predetermined vision. More and more, as Machiavelli rapidly assesses different kinds of states and forms of government, different contexts, differ- ent men and their successes and failures, he runs up against two factors that defy codification: the role of luck and the mystery of personality. By the end of the book he is beyond the stage of offering heroes and success stories as models, aware that if there is one circumstance that a man cannot easily change it is his own character: even had he wanted to, Soderini could not have modelled himself on Borgia, nor vice versa. In particular Machiavelli is fascinated by the way certain personality traits can mesh positively or negatively with certain sets of historical circumstances. A man can be suc- cessful in one situation then fail miserably in another; a policy that works well in one moment is a disaster the next. Rather than one ideal ruler, then, different men are required for different situations. The only key to permanent political success would be always to adapt one’s deepest instincts to new events, but, as Machiavelli ruefully observes, that would effectively mean the end of ‘luck’ and the end of history. Machiavelli’s own mind was deeply divided during the writing of The Prince and it is the resulting tension that accounts for much of the book’s fascination and ambiguity.
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