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A superior treatment of Machiavelli's minor masterpiece! Flaumenhaft's beautifully crafted, literal translation aims to capture the original intent of the playwright. Machiavelli himself distinguished carefully between translations and revisions; thus, Flaumenhaft finds a faithful translation essential to conveying Machiavelli's thought and to allowing direct access to the work. The Prologue explores the relationship between Machiavelli's stage comedies--part of the Comedia Erudita of the Italian Renaissance--and his political books. Mandragola focuses on the interplay between personal and political ethics, a major theme throughout his works. The translation includes helpful notes that clarify allusions, language, and context. Names of characters and places, titles and forms of address, and some familiar Italian words and phrases remain in Italian. Passages in Latin, as well as idioms, are reproduced in the notes.
- Sales Rank: #119308 in Books
- Brand: Brand: Waveland Press Inc
- Published on: 1981-02
- Original language: English
- Number of items: 1
- Dimensions: 8.50" h x 5.50" w x .25" l, .20 pounds
- Binding: Paperback
- 57 pages
- Used Book in Good Condition
Review
So you don't think Machiavelli had a sense of humor? Then go see the rolicking production of his comedy MANDRAGOLA at the Shakespeare Theater... MANDRAGOLA, adapted by Peter Maloney, is filled not only with Machiavelli's rather questionable wisdom, but with a surprising amount of wit... If comedy seems an unlikely metier for Machiavelli, the action of MANDRAGOLA is of the any-means-to-an-end variety... These days, when Machiavellian strategy is being taken all too seriously, it's refreshing to laugh at the old boy. --J. Wynn Rousuck, The Sun, Washington, DC
A naughty comedy by that great Italian Renaissance guy, Machiavelli...performed with great flair and precision...a very funny, bawdy play...a farce about lust, both physical and financial... A hilarious and lively visit to the streets and gutters of 16th century Florence. --Jane Horwitz, WTTG TV, Washington, DC
Machiavelli's realistic and unflattering opinion of human nature, expressed most notably in his classic The Prince, is given full voice here, but to obvious farcial effect. --American Theater
A naughty comedy by that great Italian Renaissance guy, Machiavelli...performed with great flair and precision...a very funny, bawdy play...a farce about lust, both physical and financial... A hilarious and lively visit to the streets and gutters of 16th century Florence. --Jane Horwitz, WTTG TV, Washington, DC
Machiavelli's realistic and unflattering opinion of human nature, expressed most notably in his classic The Prince, is given full voice here, but to obvious farcial effect. --American Theater
Language Notes
Text: English, Italian (translation)
From the Publisher
Consider these Machiavelli translations also available from Waveland Press: Clizia (ISBN 9780881339024) and The Prince (ISBN 9780881334449).
Most helpful customer reviews
20 of 20 people found the following review helpful.
A Great Translation of an Often-Overlooked Work
By James Schoonmaker
Machiavelli is best known for his treatises on political action, most notably Il Principe. Most readers don't realize he was also a playwright, however, and an accomplished one. Mandragola is one of his best plays.
One of the themes that runs through all of Machiavelli's works is the art of the crafty assault, and it is present here in spades. His greatest respect is for the man behind the puppet, and in this case it is Ligurio. The plot has already been outlined in a previous review, so it will not be discussed here, but the primary purpose of the plot is to develop the intricate artifice that Ligurio uses to help his friend Callimaco.
The translation here is great also. At some points the translation interferes with the meter, but this is rare; most of the play flows along very naturally. The language is clear and easy to read, and yet Flaumenhaft, the translator, captures the essence of such difficult words as virtu, animo, and remedio without losing any of their meaning. Alternate meanings are often given in the footnotes.
This is an excellent play, and the translation more than holds up its end. For those who appreciate the use of strategem, want a more thorough understanding of Machiavelli, or simply want to read a great play, this is a wonderful book.
3 of 3 people found the following review helpful.
Machiavellianism in practice
By William J. Fickling
The plot of this Renaissance play by Niccolo Machiavelli was quite adequately described by a previous reviewer, so I won't repeat the synopsis here. Suffice it to say that, for those who have read "The Prince," this play provided an illustration of the ideas presented in that treatise as they might work out in practice.
The central character of the play is Ligurio. Machiavelli characterizes him as a parasite, but here I think Machiavelli is being ironic. I think Ligurio is a stand-in for Machiavelli himself. He is the crafty plotter, the one who puts the entire scheme in action. Callimaco is the noble prince for whose benefit Ligurio plots. Nicia and Fra Timoteo represent, respectively, the gullibility and stupidity of the lawyer/political class and the corruption and venality of the clergy. (Remember, Machiavelli was writing at a time when the Reformation was just around the corner, precisely because of clergymen like Fra Timoteo.) Lucrezia might be characterized as the innocent who is not so innocent after all; she initially appears to be a young girl who is about to be used to satisfy a young man's lust, but she eventually consents to the scheme and finally agrees to take on Callimaco as her lover. The underlying ethos of the play is that the end justifies the means, that other people can be duped and used to satisfy someone's wants, and that in the end everyone benefits. Pure Machiavelli!
39 of 41 people found the following review helpful.
Witty, well-translated book. Deserves to be better known.
By A Customer
Most people know Niccolo Machiavelli, author of "The Prince (Il Principe)", as the infamous apostle of power politics. But in his own day, Machiavelli was celebrated for his witty, sometimes satirical, plays. Perhaps the most entertaining of these--"Mandragola" (1518)--is available in this very readable edition.
The protagonist is Callimaco, a libidinous young man who sets about to seduce Lucretia, the enchanting wife of a wealthy merchant. Callimaco fortuitously learns that the merchant has tried desperately to father a child, but to no avail. The clever Callimaco thereupon disguises himself as a physician and in this guise examines Lucretia, finding her even more alluring than he has dreamt. He deftly diagnoses her condition and prescribes a curious concoction that he must produce from the root of the mandrake plant--thus "mandragola"--to cure Lucretia of her affliction. If Lucretia drinks this potion, he declares, she will most certain! ! ly conceive a child.
The gullible merchant is overjoyed, until he hears that the potion has one very severe side-effect: The first man to join with Lucretia carnally after she has partaken of the drink will die from the potion's effects! The merchant, Nicias, understands immediately: On no account must he be the first to sleep with his wife after she has taken the potion. He knows what he must do: He must find another. He explains the predicament to his wife, and she (reluctantly?) agrees to go along with her hustband's plan.
As the reader might have guessed, the "physician" Callimaco informs Nicias that he just happens to know a young man who might consent to this indecent proposal. This man is, of course, Callimaco himself, who reappears in yet another disguise.
Machiavelli's mischief is deliciously entertaining. The characters are true, and the innuendos are still fresh 480 years after Mandragola was first published.
SOURCES:
Muir, D. Erskine. Machiavell! ! i and His Times. New York: E.P. Dutton and Co., 1936.
Lun! dmark, Thomas. Niccolo Machivelli: The Return of the Prince (Il Ritorno del Principe). London: Transaction Publishers, 1998.
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