Tuesday, September 30, 2008

Machiavelli - from The Prince


An adaptation of the W. K. Mariott translation

The Prince is one of the most celebrated and controversial of all treatises on government, but it has been read in a variety of different and mutually incompatible ways. Conventionally, it is seen as the ultimate guide to seizing and maintaining power, advice for rulers on ensuring the stability of their rule at the expense of their subjects and the public good. In Shakespeare’s times, a figure called the “Machiavel” began to appear on English stages, embodying a demonic lust for power; it stood for the association of Catholic Italy with cruel schemes, and Protestant England with liberal ideals and wise rule.
But modern political theory sees Machiavelli—a lifelong defender of the ideal of the republic—as simply emphasizing that personal virtue and public morality are not one and the same—that states must sometimes do things that individuals should not—and thus making an important historical step toward separating church and state, and arguing for studying people and societies as they really are, not as they ought to be. Thus he is one of the founders of modern social science.
It’s unclear whether Shakespeare actually knew The Prince, although it was widely believed in his time that Henry VIII was under its influence when he defied the Catholic Church and created the Church of England. He may have had popular ideas about Machiavelli in mind in designing the characters of Claudius, Polonius, or even Hamlet.


From CHAPTER VIII
Concerning Those Who Have Obtained A Principality By Wickedness


Some may wonder how it can happen that Agathocles [an ancient ruler of Syracuse in Greece], and his like, after infinite treacheries and cruelties, should live for so long secure in his country, and defend himself from external enemies, and never be conspired against by his own citizens; seeing that many others, by means of cruelty, have never been able even in peaceful times to hold the state, still less in the doubtful times of war. I believe that this follows from severities being badly or properly used. Those may be called properly used, if it is lawful to speak well of evil, that are applied at one blow and are necessary to one's security, and that are not persisted in afterwards unless they can be turned to the advantage of the subjects. The badly employed are those which, though they may be few to begin with, multiply with time rather than decrease. . . . Hence it is to be remarked that, in seizing a state, the usurper ought to consider carefully all those injuries which it is necessary for him to inflict, and to do them all at one stroke so as not to have to repeat them daily; and thus by not unsettling men he will be able to reassure them, and win them to himself by benefits. He who does otherwise, either from timidity or evil advice, is always compelled to keep the knife in his hand; neither can he rely on his subjects, nor can they attach themselves to him, owing to their continued and repeated wrongs. For injuries ought to be done all at one time, so that, being tasted less, they offend less; benefits ought to be given little by little, so that the flavor of them may last longer.

From CHAPTER XV
Concerning Things For Which Men, And Especially Princes, Are Praised Or Blamed

[I]t being my intention to write a thing which shall be useful to him who understands it, it appears to me more appropriate to follow up the real truth of a matter than the imagination of it; for many have pictured republics and principalities which in fact have never been known or seen, because how one lives is so far distant from how one ought to live, that he who neglects what is done for what ought to be done, sooner effects his ruin than his preservation; for a man who wishes to act entirely up to his professions of virtue soon meets with what destroys him among so much that is evil.
Hence it is necessary for a prince wishing to hold his own to know how to do wrong, and to make use of it or not according to necessity. Therefore, putting on one side imaginary things concerning a prince, and discussing those which are real, I say that all men when they are spoken of, and chiefly princes for being more highly placed, are remarkable for some of those qualities which bring them either blame or praise; and thus it is that . . . one is reputed generous, one rapacious; one cruel, one compassionate; one faithless, another faithful; one effeminate and cowardly, another bold and brave; one affable, another haughty; one lascivious, another chaste; one sincere, another cunning; one hard, another easy; one grave, another frivolous; one religious, another unbelieving, and the like. And I know that every one will confess that it would be most praiseworthy in a prince to exhibit all the above qualities that are considered good; but because they can neither be entirely possessed nor observed, for human conditions do not permit it, it is necessary for him to be sufficiently prudent that he may know how to avoid the reproach of those vices which would lose him his state; and also to keep himself, if possible, from those which would not lose him it; but this not being possible, he may with less hesitation abandon himself to them. And again, he need not make himself uneasy at incurring a reproach for those vices without which the state can only be saved with difficulty, for if everything is considered carefully, it will be found that something which looks like virtue, if followed, would be his ruin; whilst something else, which looks like vice, yet followed brings him security and prosperity.

From CHAPTER XVII
Concerning Cruelty And Clemency, And Whether It Is Better To Be Loved Than Feared

[A] prince, so long as he keeps his subjects united and loyal, ought not to mind the reproach of cruelty; because with a few examples he will be more merciful than those who, through too much mercy, allow disorders to arise, from which follow murders or robberies; for these are injure the whole people, whilst those executions which originate with a prince offend the individual only. . . .
Upon this a question arises: whether it be better to be loved than feared or feared than loved? It may be answered that one should wish to be both, but, because it is difficult to unite them in one person, it is much safer to be feared than loved, when, of the two, either must be dispensed with. Because in general men are ungrateful, fickle, false, cowardly, covetous, and as long as you succeed they are yours entirely; they will offer you their blood, property, life and children, as is said above, when the need is far distant; but when it approaches they turn against you. And that prince who, relying entirely on their promises, has neglected other precautions, is ruined; because friendships that are obtained by payments, and not by greatness or nobility of mind, may indeed be earned, but they are not secured, and in time of need cannot be relied upon; and men have less scruple in offending one who is beloved than one who is feared, for love is preserved by the link of obligation which, owing to the baseness of men, is broken at every opportunity for their advantage; but fear preserves you by a dread of punishment which never fails.


From CHAPTER XVIII
Concerning The Way In Which Princes Should Keep Faith

Everyone admits how praiseworthy it is in a prince to keep faith, and to live with integrity and not with craft. Nevertheless our experience has been that those princes who have done great things have held good faith of little account, and have known how to circumvent the intellect of men by craft, and in the end have overcome those who have relied on their word. . . .
But it is necessary to know well how to be a great pretender and dissembler; and men are so simple, and so subject to present necessities, that he who seeks to deceive will always find someone who will allow himself to be deceived.
It is unnecessary for a prince to have all the good qualities I have enumerated, but it is very necessary to appear to have them. And I shall dare to say this also, that to have them and always to observe them is injurious, and that to appear to have them is useful; to appear merciful, faithful, humane, religious, upright, and to be so, but with a mind so framed that should you require not to be so, you may be able and know how to change to the opposite.
And you have to understand this, that a prince, especially a new one, cannot observe all those things for which men are esteemed, being often forced, in order to maintain the state, to act contrary to faith, friendship, humanity, and religion. Therefore it is necessary for him to have a mind ready to turn itself accordingly as the winds and variations of fortune force it, yet, as I have said above, not to diverge from the good if he can avoid doing so, but, if compelled, then to know how to set about it.
For this reason a prince ought to take care that he never lets anything slip from his lips that is not replete with the above-named five qualities, that he may appear to him who sees and hears him altogether merciful, faithful, humane, upright, and religious. There is nothing more necessary to appear to have than this last quality, inasmuch as men judge generally more by the eye than by the hand, because it belongs to everybody to see you, to few to come in touch with you. Every one sees what you appear to be, few really know what you are, and those few dare not oppose themselves to the opinion of the many, who have the majesty of the state to defend them; and in the actions of all men, and especially of princes, which it is not prudent to challenge, one judges by the result.

Monday, September 29, 2008




Artist Folker de Jong in his own way refers to history. His critiques of social and political situation allow a timeless quality, like the work of Shakespeare.

Tuesday, September 23, 2008

Sunday, September 21, 2008

William Hazlitt's critical essay

Perhaps this isn't as interesting as a youtube parody video, but I found the read particularly interesting. It's a famous article that was published in 1817 by William Hazlitt, giving an in-depth character analysis of Hamlet himself. Highly recommended if you haven't read it before...

Check it out here.



Wednesday, September 17, 2008

A more ACTION PACKED take..


Now thats bringing a powerhouse to hamlet. Whuzzam!

Tuesday, September 16, 2008

Hamlet in Da HOOD




I typed in Hamlet and the ghost.. but I found something even better, and kind of funny. It's a little long- but definitely appropriate!
ENJOY =]
-Niya

Saturday, September 6, 2008

Wednesday, September 3, 2008

Intro


The focus for our course this semester is William Shakespeare’s Hamlet—very likely the most celebrated, the most studied, and the most iconic work in the canon of Western literature, outside of religious scripture. As you study the text of Hamlet and what it has meant to readers, actors, and critics in the past four hundred years, it begins to seem that there are very few major issues in the study of the humanities that are not somehow encompassed in this play.
I want our study of the play to remain as open as possible to the original contributions of all participants. But I will also offer a structure of topics, readings, exercises, and assignments to introduce perspectives I hope will broaden and deepen our experience of the play. In addition to the general goals of Humanities courses stated above, we will use our study of Hamlet to consider:

• The social contexts of cultural productions: Is the enduring prestige of Hamlet due to its inherent qualities, or to social institutions dependent on distinctions of class, nationality, gender, race, and political ideology?

• The historical contexts of cultural productions: Do we have to understand what Hamlet meant to a 17th-century audience? Is it OK to just concentrate on what we make of it as 21st-century people?

• The technology of cultural representation in old and new media: Is Hamlet still Hamlet when it becomes a movie? A video game? A theme-park ride?
• The concept of performance in modern thought: Is the actor’s and director’s understanding of a text vitally different from that of a critic, historian, or philosopher?
• The application of social theory (such as psychoanalysis or symbolic interactionism) to the humanities: Can Hamlet serve as a guide to how we play our roles in life? Is all the world really a stage?

• The value of art (as distinct from philosophy, social science, etc.) as a way of thinking about life: How does a play convince us that it has a message for us? Do all those strange rules of form, style, and genre really serve a purpose? Should art imitate life, as Hamlet himself seems to insist?