Machiavelli's best-known work, Il principe [the prince] (1532), describes the means by which a prince may gain and maintain his power. His "ideal" prince (seemingly modeled on Cesare Borgia) is a supremely adaptable, amoral, and calculating tyrant who would be able to establish a unified Italian state. The last chapter of the work pleads for the eventual liberation of Italy from foreign rule. Interpretations of The Prince vary: it has been viewed as sincere advice, as a plea for political office, as a detached analysis of Italian politics, as evidence of early Italian nationalism, and as political satire on Medici rule. However, the adjective Machiavellian has come to be a synonym for amoral cunning and for justification by power.
Less widely read but more indicative of Machiavelli's politics is his scholarly Discorsi sulla prima deca di Tito Livio [discourses on the first 10 books of Livy] (1531). In it Machiavelli expounds a general theory of politics and government that stresses the importance of an uncorrupted political culture and a vigorous political morality. Vaster in conception than The Prince, the Discourses shows clearly Machiavelli's republican ideals and principles, which are also reflected in his Istorie Fiorentine [history of Florence] (1532), a historical and literary masterpiece, entirely modern in concept.
Other works include Dell'arte della guerra [on the art of war] (1521), which viewed military problems in relation to politics, and numerous reports and brief works. He also wrote many poems and plays, notably the lively, satiric, and ribald comedy Mandragola [the mandrake], an extremely popular work first performed in 1520. His correspondence has been preserved and is of great interest. The chief works of Machiavelli are available in several popular English editions.
The Columbia Electronic Encyclopedia, 6th ed. Copyright © 2012, Columbia University Press. All rights reserved.
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