The influence of Machiavelli on the drama of Renaissance. England.

Machiavelli’s Core Principles

Machiavelli’s central tenets, as outlined in *The Prince*, revolved around the acquisition and maintenance of power. Key concepts include:

• Virtù: Not virtue in the traditional moral sense, but rather skill, cunning, and the ability to adapt to circumstances.
• Fortuna: Fate or luck, which a prince must be prepared to confront and overcome through *virtù*.
• The ends justify the means: A willingness to employ deception, cruelty, and manipulation if necessary to achieve political goals.
• Appearance vs. Reality: The importance of appearing virtuous, even if one is not, to maintain public support.

Shakespeare and Machiavellian Influence

William Shakespeare, arguably the most influential playwright of the era, frequently explored Machiavellian themes.

Macbeth (c. 1606)

Macbeth provides a compelling example of a character driven by ambition and willing to commit regicide to seize power. Macbeth’s ruthless pursuit of the throne, fueled by the witches’ prophecies and Lady Macbeth’s encouragement, embodies Machiavellian *virtù*. However, unlike a successful Machiavellian prince, Macbeth’s actions are ultimately self-destructive, demonstrating the dangers of unchecked ambition and the importance of maintaining a façade of legitimacy. His paranoia and tyranny lead to his downfall.

Richard III (c. 1592)

Richard III is often considered Shakespeare’s most overtly Machiavellian character. He is a master manipulator, using deceit, cunning, and violence to eliminate his rivals and ascend to the throne. His soliloquies reveal a cynical worldview and a deliberate rejection of traditional morality. Richard’s calculated cruelty and willingness to exploit others align closely with Machiavelli’s prescriptions for a successful prince.

Christopher Marlowe and Machiavellian Protagonists

Christopher Marlowe, a contemporary of Shakespeare, also frequently depicted characters embodying Machiavellian principles.

The Jew of Malta (1589-90)

Barabas, the protagonist of The Jew of Malta, is a ruthless and cunning merchant who uses deception, betrayal, and violence to avenge his losses and accumulate wealth and power. He represents a particularly dark and cynical interpretation of Machiavellian principles, demonstrating the potential for unchecked ambition to lead to moral depravity. His actions are driven solely by self-interest, and he disregards all ethical considerations.

Doctor Faustus (c. 1592)

While not strictly a political play, Doctor Faustus explores themes of ambition and the pursuit of forbidden knowledge, which can be interpreted through a Machiavellian lens. Faustus’s desire for unlimited power and his willingness to make a pact with the devil reflect a similar drive for self-aggrandizement, albeit in a different sphere. His ultimate downfall serves as a cautionary tale about the dangers of exceeding human limitations.

The Context of Political Instability

The prevalence of Machiavellian themes in Renaissance English drama can also be attributed to the political instability of the period. The reigns of Henry VIII, Mary I, and Elizabeth I were marked by religious conflict, court intrigue, and threats to the throne. Playwrights were acutely aware of the power struggles and political machinations taking place around them, and their works often reflected these anxieties. The exploration of Machiavellian characters and themes provided a means of examining the nature of power and the challenges of governance in a turbulent era.