Machiavelli, Volume I — A Reader’s Guide

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Machiavelli, Niccolò, 1469-1527, Cust, Henry John Cockayne, 1861-1917 [Author of introduction, etc.], Dacres, Edward [Translator], Whitehorne, Peter [Translator] Project Gutenberg 2005 Not confirmed
Florence (Italy) -- History; Military art and science -- Early works to 1800; Political science -- Early works to 1800; Political ethics; War -- Early works to 1800 Readers of public-domain and historical texts
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Words 133,948
Reading time 583 min
Text sections 13

Machiavelli, Volume I — A Reader’s Guide can be approached with a clearer sense of reading commitment from its source measurements: 133,948 words, 9 hr 43 min estimated reading time, and 13 detected text sections.

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This volume pairs two early English translations of Machiavelli: Peter Whitehorne's 1560 'The Art of War' and Edward Dacres's 1640 'The Prince,' with an introduction by Henry Cust. The excerpts show a stark contrast between the intimate, reflective voice of Machiavelli's letter and the practical, rule-based discourse of the military treatise.
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achiavelli was born on the 3rd of May 1469. The period of his life almost exactly coincides with that of Cardinal Wolsey. He came of the old and noble Tuscan stock of Montespertoli, who were men of their hands in the eleventh century. He carried their coat, but the property had been wasted and divided. His forefathers had held office of high distinction, but had fallen away as the new wealth of the bankers and traders increased in Florence. He himself inherited a small property in San Casciano and its neighbourhood, which assured him a sufficient, if somewhat lean, independence. Of his education we know little enough. He was well acquainted with Latin, and knew, perhaps, Greek enough to serve his turn. 'Rather not without letters than lettered,' Varchi describes him. That he was not loaded down with learned reading proved probably a great advantage. The coming of the French, and the expulsion of the Medici, the proclamation of the Republic (1494), and later the burning of Savonarola convulsed Florence and threw open many public offices. It has been suggested, but without much foundation, that some clerical work was found for Machiavelli in 1494 or even earlier. It is certain that on July 14, 1498, he was appointed Chancellor and Secretary to the Dieci di Libertà e Pace, an office which he held till the close of his political life at fall of the Republic in 1512.

[Sidenote: Official Life.]

The functions of his Council were extremely varied, and in the hands of their Secretary became yet more diversified. They represented in some sense the Ministry for Home, Military, and especially for Foreign Affairs. It is impossible to give any full account of Machiavelli's official duties. He wrote many thousands of despatches and official letters, which are still preserved. He was on constant errands of State through the Florentine dominions. But his diplomatic missions and what he learned by them make the main interest of his office. His first adventure of importance was to the Court of Caterina Sforza, the Lady of Forlì, in which matter that astute Countess entirely bested the teacher of all diplomatists to be. In 1500 he smelt powder at the siege at Pisa, and was sent to France to allay the irritations of Louis XII. Many similar and lesser missions follow. The results are in no case of great importance, but the opportunities to the Secretary of learning men and things, intrigue and policy, the Court and the gutter were invaluable. At the camp of Cæsar Borgia, in 1502, he found in his host that fantastic hero whom he incarnated in _The Prince_, and he was practically an eye-witness of the amazing masterpiece, the Massacre of Sinigaglia. The next year he is sent to Rome with a watching brief at the election of Julius II., and in 1506 is again sent to negotiate with the Pope. An embassy to the Emperor Maximilian, a second mission to the French King at Blois, in which he persuades Louis XII. to postpone the threatened General Council of the Church (1511), and constant expeditions to report upon and set in order unrestful towns and provinces did not fulfil his activity. His pen was never idle. Reports, despatches, elaborate monographs on France, Germany, or wherever he might be, and personal letters innumerable, and even yet unpublished, ceased not night nor day. Detail, wit, character-drawing, satire, sorrow, bitterness, all take their turn. But this was only a fraction of his work. By duty and by expediency he was bound to follow closely the internal politics of Florence where his enemies and rivals abounded. And in all these years he was pushing forward and carrying through with unceasing and unspeakable vigour the great military dream of his life, the foundation of a National Militia and the extinction of Mercenary Companies. But the fabric he had fancied and thought to have built proved unsubstantial. The spoilt half-mutinous levies whom he had spent years in odious and unwilling training failed him at the crowning moment in strength and spirit: and the fall of the Republic implied the fall of Machiavelli and the close of his official life. He struggled hard to save himself, but the wealthy classes were against him, perhaps afraid of him, and on them the Medici relied. For a year he was forbidden to leave Florentine territory, and for a while was excluded from the Palazzo. Later his name was found in a list of Anti-Medicean conspirators. He was arrested and decorously tortured with six turns of the rack, and then liberated for want of evidence.

[Sidenote: After his Fall.]

For perhaps a year after his release the Secretary engaged in a series of tortuous intrigues to gain the favour of the Medici. Many of the stories may be exaggerated, but none make pleasant reading, and nothing proved successful. His position was miserable. Temporarily crippled by torture, out of favour with the Government, shunned by his friends, in deep poverty, burdened with debt and with a wife and four children, his material circumstances were ill enough. But, worse still, he was idle. He had deserved well of the Republic, and had never despaired of it, and this was his reward. He seemed to himself a broken man. He had no great natural dignity, no great moral strength. He profoundly loved and admired Dante, but he could not for one moment imitate him. He sought satisfaction in sensuality of life and writing, but found no comfort. Great things were stirring in the world and he had neither part nor lot in them. By great good fortune he began a correspondence with his friend Francesco Vettori, the Medicean Ambassador at Rome, to whom he appeals for his good offices: 'And if nothing can be done, I must live as I came into the world, for I was born poor and learnt to want before learning to enjoy.' Before long these two diplomats had co-opted themselves into a kind of Secret Cabinet of Europe. It is a strange but profoundly interesting correspondence, both politically and personally. Nothing is too great or too small, too glorious or too mean for their pens. Amid foolish anecdotes and rather sordid love affairs the politics of Europe, and especially of Italy, are dissected and discussed. Leo X. had now plunged into political intrigue. Ferdinand of Spain was in difficulty. France had allied herself with Venice. The Swiss are the Ancient Romans, and may conquer Italy. Then back again, or rather constant throughout, the love intrigues and the 'likely wench hard-by who may help to pass our time.' But through it all there is an ache at Machiavelli's heart, and on a sudden he will break down, crying,

Però se aleuna volta io rido e canto Facciol, perchè non ho se non quest' una Via da sfogare il mio angoscioso pianto.

Vettori promised much, but nothing came of it. By 1515 the correspondence died away, and the Ex-Secretary found for himself at last the true pathway through his vale of years.

[Sidenote: The true Life.]

The remainder of Machiavelli's life is bounded by his books. He settled at his villa at San Casciano, where he spent his day as he describes in the letter quoted at the beginning of this essay. In 1518 he began to attend the meetings of the Literary Club in the Orti Oricellarii, and made new and remarkable friends. 'Era amato grandamente da loro ... e della sua conversazione si dilettavano maravigliosamente, tenendo in prezzo grandissimo tutte l'opere sue,' which shows the personal authority he exercised. Occasionally he was employed by Florentine merchants to negotiate for them at Venice, Genoa, Lucca, and other places. In 1519 Cardinal Medici deigned to consult him as to the Government, and commissioned him to write the History of Florence. But in the main he wrote his books and lived the daily life we know. In 1525 he went to Rome to present his History to Clement VII., and was sent on to Guicciardini. In 1526 he was busy once more with military matters and the fortification of Florence. On the 22nd of June 1527 he died at Florence immediately after the establishment of the second Republic. He had lived as a practising Christian, and so died, surrounded by his wife and family. Wild legends grew about his death, but have no foundation. A peasant clod in San Casciano could not have made a simpler end. He was buried in the family Chapel in Santa Croce, and a monument was there at last erected with the epitaph by Doctor Ferroni--'Tanto nomini nullum par elogium.' The first edition of his complete works was published in 1782, and was dedicated to Lord Cowper.

[Sidenote: His Character.]

What manner of man was Machiavelli at home and in the market-place? It is hard to say. There are doubtful busts, the best, perhaps, that engraved in the 'Testina' edition of 1550, so-called on account of the portrait. 'Of middle height, slender figure, with sparkling eyes, dark hair, rather a small head, a slightly aquiline nose, a tightly closed mouth: all about him bore the impress of a very acute observer and thinker, but not that of one able to wield much influence over others.' Such is a reconstruction of him by one best able to make one. 'In his conversation,' says Varchi, 'Machiavelli was pleasant, serviceable to his friends, a friend of virtuous men, and, in a word, worthy to have received from Nature either less genius or a better mind.' If not much above the moral standard of the day he was certainly not below it. His habits were loose and his language lucid and licentious. But there is no bad or even unkind act charged against him. To his honesty and good faith he very fairly claims that his poverty bears witness. He was a kind, if uncertain, husband and a devoted father. His letters to his children are charming. Here is one written soon before his death to his little son Guido.--'Guido, my darling son, I received a letter of thine and was delighted with it, particularly because you tell me of your full recovery, the best news I could have. If God grants life to us both I expect to make a good man of you, only you must do your fair share yourself.' Guido is to stick to his books and music, and if the family mule is too fractious, 'Unbridle him, take off the halter and turn him loose at Montepulciano. The farm is large, the mule is small, so no harm can come of it. Tell your mother, with my love, not to be nervous. I shall surely be home before any trouble comes. Give a kiss to Baccina, Piero, and Totto: I wish I knew his eyes were getting well. Be happy and spend as little as you may. Christ have you in his keeping.'--There is nothing exquisite or divinely delicate in this letter, but there are many such, and they were not written by a bad man, any more than the answers they evoke were addressed to one. There is little more save of a like character that is known of Machiavelli the man. But to judge him and his work we must have some knowledge of the world in which he was to move and have his being.

[Sidenote: State of Italy.]

At the beginning of the sixteenth century Italy was rotten to the core. In the close competition of great wickedness the Vicar of Christ easily carried off the palm, and the Court of Alexander VI. was probably the wickedest meeting-place of men that has ever existed upon earth. No virtue, Christian or Pagan, was there to be found; little art that was not sensuous or sensual. It seemed as if Bacchus and Venus and Priapus had come to their own again, and yet Rome had not ceased to call herself Christian.

[Sidenote: Superstition.]

'Owing to the evil ensample of the Papal Court,' writes Machiavelli, 'Italy has lost all piety and all religion: whence follow infinite troubles and disorders; for as religion implies all good, so its absence implies the contrary. To the Church and priests of Rome we owe another even greater disaster which is the cause of her ruin. I mean that the Church has maintained, and still maintains Italy divided.' The Papacy is too weak to unite and rule, but strong enough to prevent others doing so, and is always ready to call in the foreigner to crush all Italians to the foreigner's profit, and Guicciardini, a high Papal officer, commenting on this, adds, 'It would be impossible to speak so ill of the Roman Court, but that more abuse should not be merited, seeing it is an infamy, and example of all the shames and scandals of the world.' The lesser clergy, the monks, the nuns followed, with anxious fidelity, the footsteps of their shepherds. There was hardly a tonsure in Italy which covered more than thoughts and hopes of lust and avarice. Religion and morals which God had joined together, were set by man a thousand leagues asunder. Yet religion still sat upon the alabaster throne of Peter, and in the filthy straw of the meanest Calabrian confessional. And still deeper remained a blind devoted superstition. Vitellozzo Vitelli, as Machiavelli tells us, while being strangled by Cæesar Borgia's assassin, implored his murderer to procure for him the absolution of that murderer's father. Gianpaolo Baglioni, who reigned by parricide and lived in incest, was severely blamed by the Florentines for not killing Pope Julius II. when the latter was his guest at Perugia. And when Gabrino Fondato, the tyrant of Cremona, was on the scaffold, his only regret was that when he had taken his guests, the Pope and Emperor, to the top of the Cremona tower, four hundred feet high, his nerve failed him and he did not push them both over. Upon this anarchy of religion, morals, and conduct breathed suddenly the inspiring breath of Pagan antiquity which seemed to the Italian mind to find its finest climax in tyrannicide. There is no better instance than in the plot of the Pazzi at Florence. Francesco Pazzi and Bernardo Bandini decided to kill Lorenzo and Giuliano de' Medici in the cathedral at the moment of the elevation of the Host. They naturally took the priest into their confidence. They escorted Giuliano to the Duomo, laughing and talking, and playfully embraced him--to discover if he wore armour under his clothes. Then they killed him at the moment appointed.

[Sidenote: Pagan influence.]

Nor were there any hills from which salvation might be looked for. Philosophy, poetry, science, expressed themselves in terms of materialism. Faith and hope are ever the last survivors in the life of a man or of a nation. But in Italy these brave comforters were at their latest breath. It is perhaps unfair to accept in full the judgment of Northern travellers. The conditions, training, needs of England and Germany were different. In these countries courage was a necessity, and good faith a paying policy. Subtlety could do little against a two-handed sword in the hands of an angry or partially intoxicated giant. Climate played its part as well as culture, and the crude pleasures and vices of the North seemed fully as loathsome to the refined Italian as did the tortuous policy and the elaborate infamies of the South to their rough invaders. Alone, perhaps, among the nations of Europe the Italians had never understood or practised chivalry, save in such select and exotic schools as the Casa Gioiosa under Vittorino da Feltre at Mantua. The oath of Arthur's knights would have seemed to them mere superfluity of silliness. _Onore_ connoted credit, reputation, and prowess. _Virtù_, which may be roughly translated as mental ability combined with personal daring, set the standard and ruled opinion. 'Honour in the North was subjective: _Onore_ in Italy objective.' Individual liberty, indeed, was granted in full to all, at the individual's risk. The love of beauty curbed grossness and added distinction. Fraud became an art and force a science. There is liberty for all, but for the great ones there is licence. And when the day of trial comes, it is the Churchmen and the Princes who can save neither themselves nor man, nor thing that is theirs. To such a world was Machiavelli born. To whom should he turn? To the People? To the Church? To the Princes and Despots? But hear him:--

'There shall never be found any good mason, which will beleeve to be able to make a faire image of a peece of marble ill hewed, but verye well of a rude peece. Our Italian Princes beleeved, before they tasted the blowes of the outlandish warre, that it should suffice a Prince to know by writinges, how to make a subtell aunswere, to write a goodly letter, to shewe in sayinges, and in woordes, witte and promptenesse, to know how to canvas a fraude, to decke themselves with precious stones and gold, to sleepe and to eate with greater glory then other: To kepe many lascivious persons about them, to governe themselves with their subjects, covetously and proudely: To roote in idlenes, to give the degrees of the exercise of warre for good will, to dispise if any should have shewed them any laudable waie, minding that their wordes should bee aunswers of oracles: nor the sely wretches were not aware that they prepared themselves to be a pray to whome so ever should assaulte them. Hereby grew then in the thousand fowre hundred and nintie and fowre yere, the great feares, the sodaine flightes and the marveilous losses: and so three most mighty states which were in Italie, have bene dievers times sacked and destroyed. But that which is worse, is where those that remaine, continue in the very same errour, and liev in the verie same disorder and consider not, that those who in olde time would keepe their states, caused to be done these thinges, which of me hath beene reasoned, and that their studies were, to prepare the body to diseases, and the minde not to feare perills. Whereby grewe that Cæsar, Alexander, and all those men and excellent Princes in olde time, were the formost amongst the fighters, going armed on foote: and if they lost their state, they would loose their life, so that they lievd and died vertuously.'

Such was the clay that waited the moulding of the potter's hand. 'Posterity, that high court of appeal, which is never tired of eulogising its own justice and discernment,' has recorded harsh sentence on the Florentine. It is better to-day to let him speak for himself.

[Sidenote: _The Prince_.]

The slender volume of _The Prince_ has probably produced wider discussion, more bitter controversy, more varied interpretations and a deeper influence than any book save Holy Writ. Kings and statesmen, philosophers and theologians, monarchists and republicans have all and always used or abused it for their purposes. Written in 1513, the first year of Machiavelli's disgrace, concurrently with part of the _Discorsi_, which contain the germs of it, the book represents the fulness of its author's thought and experience. It was not till after Machiavelli's death, that it was published in 1532, by order of Clement VII. Meanwhile, however, in manuscript it had been widely read and favourably received.

[Sidenote: Its purpose.]

The most arresting passage in this volume is not from The Prince or The Art of War but from Machiavelli’s own letter, quoted in Henry Cust’s introduction. He describes his daily routine in exile: rising with the sun, inspecting woodcutters, playing cards with a butcher and a baker, then at evening donning “royal courtly garments” to converse with ancient authors. This vivid self-portrait—alternating between rustic idleness and intense intellectual communion—sets up a tension that runs through both translated works. The letter’s intimate, first-person voice contrasts sharply with the impersonal, instructional tone of the treatises that follow.

Two Translators, Two Eras

This volume juxtaposes translations from different centuries. Peter Whitehorne’s 1560 The Art of War uses Elizabethan spelling and syntax: “thei remaine often tymes famished,” “howe moche difficultie is taken awaie.” Edward Dacres’s 1640 The Prince is more modern but still retains seventeenth-century forms. The difference in language is not merely cosmetic. Whitehorne’s text feels rougher, more experimental, as if the translator is still forging English military vocabulary. Dacres, writing eighty years later, benefits from a more settled prose tradition. Readers moving between the two works will notice shifts in rhythm and clarity that reflect the evolution of English itself.

The Art of War’s Dialogic Structure

The Art of War is cast as a dialogue among interlocutors including Fabrizio and Zanobi. This form allows Machiavelli to present arguments through question and answer. Zanobi asks how the ancients handled spoils; Fabrizio replies at length, contrasting Roman discipline with modern chaos. The back-and-forth creates a sense of debate, but the voice remains consistently authoritative. Fabrizio’s speeches are dense with practical detail—how bread should be baked by soldiers themselves, how a third of wages should be held back. The dialogue structure gives the reader a foothold in what might otherwise be a relentless catalogue of military regulations.

Pace and Purpose in the Introduction

Henry Cust’s introduction moves at a different pace from the treatises. It begins with Machiavelli’s personal letter, unhurried and anecdotal, then shifts to a more conventional biographical sketch. Cust quotes extensively, letting Machiavelli’s own words carry the emotional weight. The effect is to humanize the author before the reader encounters his systematic works. This change of pace—from reflective to expository—prepares the reader for the stylistic jolt of Whitehorne’s archaic English. Cust’s introduction serves as a bridge between the modern reader and the distant voices of the translators.

Readers may find it useful to read the introduction last, after encountering the treatises directly. The letter’s confession of poverty and intellectual hunger gains force when one has already struggled through Whitehorne’s dense prose. Alternatively, reading the introduction first provides a biographical key to Machiavelli’s insistence on order and discipline. Either approach reveals how this volume’s layered voices—author, translator, editor—create a complex reading experience that rewards attention to language and pacing.

Years shelving these old volumes, I notice how Machiavelli’s Prince, for all its cunning, craves order—rules to steady a trembling hand. Yet Whitehorne’s martial arts only echo that same longing for peace. And I’m reminded of another quiet companion, The Kingdom of God is Within You; What is Art? — A Closer Reading, where even Tolstoy’s fierce questions soften into a similar, patient search.

Elijah Wilson
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