Read La Mandragola by Niccolò Machiavelli Online

la-mandragola

Capolavoro della commedia rinascimentale, la Mandragola fu composta da Machiavelli dopo il suo allontanamento forzoso dalla politica. La vicenda ruota intorno alla beffa giocata da un giovane fiorentino a un marito sciocco per possederne la moglie di cui si era invaghito. Un ruolo determinante nel convincimento della donna ha il suo confessore, corrotto dai denari dell'amaCapolavoro della commedia rinascimentale, la Mandragola fu composta da Machiavelli dopo il suo allontanamento forzoso dalla politica. La vicenda ruota intorno alla beffa giocata da un giovane fiorentino a un marito sciocco per possederne la moglie di cui si era invaghito. Un ruolo determinante nel convincimento della donna ha il suo confessore, corrotto dai denari dell'amante. Nella commedia il tema realistico della beffa, di matrice boccacciana, si rapprende in una perfetta macchina teatrale, rispettosa fin nei particolari più minuti delle regole della commedia antica (Plauto e Terenzio). Attraverso il format della commedia Machiavelli tenta di definire un'antropologia della vita quotidiana, analogamente a come nelle opere politiche veniva descrivendo l'antropologia del potere. Si scopre così che non c'è differenza tra una sfera e l'altra: sono sempre e soltanto l'utile e il piacere a muovere gli uomini. Quando però il simulare e il dissimulare dell'agire politico si trasferiscono nella quotidianità, la realtà si fa doppia o tripla, nascono situazioni paradossali che sono di per sé comiche. Il paradosso tocca i valori della famiglia, della morale privata, della religione. Prendono forma le prime creature fredde e amorali della letteratura moderna, senza che nulla venga sottratto alla vivacità e al divertimento. La Mandragola è presentata qui in un nuovo testo critico e con un commento per la prima volta esauriente....

Title : La Mandragola
Author :
Rating :
ISBN : 9788817122887
Format Type : Paperback
Number of Pages : 220 Pages
Status : Available For Download
Last checked : 21 Minutes ago!

La Mandragola Reviews

  • Anna
    2018-12-10 01:06

    Πάω λοιπόν χθες που λέτε στην Πρωτοπορία να "κόψω κίνηση" για το τριήμερο του Πάσχα, μήπως και βρω καμιά καλή προσφορά, και βλέπω μπροστά μου αυτό το βιβλίο, μόνο με 2.90 €! Μου κάνει εντύπωση ο συγγραφέας (έχω τον Ηγεμόνα εδώ και κάτι μήνες στο γραφείο μου αδιάβαστο...), το οπισθόφυλλο ενδιαφέρον, "ας είναι", λέω, "δεν θα φάω εκείνο το vegan burger που είχα βάλει στο μάτι (η Μεγάλη Εβδομάδα εμπνέει και για νέες γκουρμέ συνταγές).Το θεατρικό πολύ χαλαρό, καλογραμμένο και ευχάριστο, η μετάφραση επίσης εξαιρετική, σίγουρα άξιζε και τα λεφτά του (με το παραπάνω) και τη θυσία στο μπέργκερ!Και ας συνεχίσουμε με μια περιγραφή του ίδιου του συγγραφέα για το έργο του:"Τα πρόσωπα: ένας που ερωτεύεται μια παντρεμένη, ένας λιγούρης - η διαφθορά ενσαρκωμένη - ένας ηγούμενος του σκοινιού και του παλουκιού κι ο δικηγόρος με το χαμηλό αϊ-κιου....Ο συγγραφέας δεν είναι χτεσινός, απλώς στ' ανάλαφρα βρίσκει παρηγοριάτις ώρες της μελαγχολίας και της σιωπής,που του επιβλήθηκαν από ένα γεγονός:αυτός, ένας διανοούμενος περιωπής,δε βρήκε ως τώρα ανταπόκριση στην αγοράμε άλλα έργα, βαθυστόχαστα και σοβαρά.Κι εδώ τα ίδια περιμένει - τι να πεις;Ο πάσα ένας του την έχει στήσει στη γωνίαέτοιμος να χλευάσει και να ψέξειόσα θ' ακούσει, ως την τελευταία λέξη.Ορίστε που κατάντησε η κοινωνία:οι αρχαίες λέξεις γίνονται καπνόςμε το μακρύ και το κοντό του καθενός"Nα κλείσω με κάποια λόγια του ιερωμένου, γιατί είπαμε, χαλαρό το θέμα του θεατρικού, αλλά να πούμε και δυο λογάκια: "Θυμάμαι κάτι εποχές που κρέμονταν εκεί μέσα και πεντακόσια τάματα και τώρα δεν έχει πάνω από είκοσι... Μέχρι και δικά μας τάματα κρεμάγαμε, για να τα βλέπει το εκκλησίασμα και να παραδειγματίζεται, και όταν ξεμολογούσαμε τους πιστούς τους συμβουλεύαμε να τάζουνε με κάθε αφορμή - Περασμένα μεγαλεία...."

  • Anne
    2018-12-11 06:19

    This book really brought out the worst in people.The reactions to it today in my Political Theory class were repugnant. Rape apologism, victim-blaming, sexism, misogyny...I hated this play, but I suppose it brought out some passionate responses in me - a silver lining.Certainly connects to Machiavelli's views on how people should behave, and raises some interesting questions - what does it truly mean to be happy? Is ignorance bliss, in the case of a buffoon like Nicia? How has Lucrezia changed? (One student called her a 'harlot'. Perhaps we should burn her at the stake for exercising her agency in the only way possible.)This review is a little incoherent because of how furious the class discussions made me. The "I know, it's horrendously sexist, ha-ha" reaction is not acceptable.

  • Simona Bartolotta
    2018-12-09 02:33

    "Quel che mio marito ha voluto per una sera, voglio ch'egli l'abbia per sempre."Non dubito che per l'epoca fosse di un'innovatività sconvolgente, ma suppongo che coi secoli abbia perso il proprio mordente. Ipotesi la quale, tuttavia, è ben lungi dal soddisfarmi; se un classico è un testo che non smette mai di dire quel che ha da dire, siamo di fronte a una contraddizione grande come un monte. Non è comunque un'opera da sottovalutare: ho trovato particolarmente acuta e pungente la resa del personaggio di messer Nicia, vertiginosamente ampia la gamma di interpretazioni con le quali leggere le condotte del suddetto avvocato, di Lucrezia e di Ligurio, i tre personaggi secondo me più corposi. Soggettivamente, non lo adoro ma mi ha divertita. Oggettivamente, è una pietra miliare nello sviluppo della commedia italiana ed europea, e a buon merito.

  • Mohammad Ali
    2018-12-06 04:07

    ترجمه ی اشعار - به طور خاص پیش درآمد - منو به شدت به خودش جلب کردطعنه های کتاب به کشیشیان و اهل علم هم خواندنیبود.دیدگاه طبیعت گرایانه ی ماکیاولی همهمچون سیاستش جلب نظر می کندنکته ی فرعی: آنجا که ماکیاولی در پیش گفتار از وضع خود می نالد و می گوید وقتی کسی قدر مرا نمی داند باید هم بنشینم کمدی بنویسم و همچنین می گوید اصولا آدم اگر مشوقی نداشته باشد مغز آن حیوان بدبخت را نخورده است که زندگیش را پای این یا آن چیز بگذارد، به این فکر می کردم که احتمالا همین گودریدز از آن تشویق هایی است که احتمالا ماکیاولی هم از آن بدش نمی آمد و احتمالا گودریدز آثر ( نویسنده ی عضو گودریدز ) هم می شد

  • İzel Özdemircan
    2018-11-24 04:12

    Bir süredir kitaplığımda okunmayı bekliyordu ve bu kadar akıcı ve komik olacağını düşünmemiştim. Sayfa sayısı da az olunca elimden bırakamadım.Bazı karakterler ön plandaydı , özellikle de Ligurio (asalak) karakteri ve rahip çok iyiydi kesinlikle. Akıllıca yazılmış, okuması keyifli, bol göndermeli bir tiyatro oyunu Adamotu. Çok beğendim.

  • Victoria
    2018-11-23 04:28

    Mandragola: A Modern Movie Adaptation Black screen.Loud club music plays; the lyrics are indistinguishable but probably have something to do with sex, booze, and swag.A group of men sit around a table and are drinking copious amounts of alcohol.CAL: "Yo, chicks from your city? Ugggly."CAM: "Yeah, well, even if they are, I have a cousin that is hot enough for all of the girls in my hometown. Her name is Lucy."Black screen.WHAT WOULD YOU DO...Shot of CAL creeping LUCY, who shakes her mane of hair behind her dramatically as she puts on a pair of sunglasses at the poolside.... IF THE ONLY GIRL YOU WANTED...Shot of LUCY stripping and being creeped by CAL.... WAS TAKEN?Shot of LUCY tucking her hair behind her ear; her diamond wedding ring sparkling on her finger.Dramatic pause.NICK: I want to start a family!LUCY (crying): I know... nothing's working!Cue pop song at the top of the charts.CAL (dreamily): I'll do anything to hook up with her.CUT to HOSPITAL, where CAL is dressed as a doctor.Yes... I see the problem, sir. Your wife is infertile, but I have just the thing to help her.NICK: What???CAL: I have medicine that can fix that infertility. Only thing... the first man your wife sleeps with after taking the medicine will die.NICK: ... where are we ever going to find someone to make this huge sacrifice?(camera closeup)CAL winks.THE MANDRAKEComing soon to theatres everywhere....Damn… obviously my sleep-deprived brain decided that it would be a great idea to write an awful modern fanfic-styled movie trailer take on Mandragola. Albeit, y’know, that not exactly happening... that movie trailer did cover several plot points.Essentially, this play takes place in Florence and is about Callimaco, a man who wants to sleep with Messer Nicia's beautiful wife, Lucrezia. Messer Nicia is incredibly stupid. Callimaco, in conjunction with a guy named Ligurio and Fra Timoteo, manage to convince him that Lucrezia will become fertile if she drinks a potion made of mandrake. However, the crew manage to convince Messer Nicia that the first man to sleep with Lucrezia will die, which allows for them to also convince Nicia that Lucrezia sleeping with another man is a GREAT idea.So, basically:- How can I convince a married woman to sleep with me against her wishes?I didn't even have to try to read this through a feminist lens. The sexism screamed at me from within the pages and wildly flailed in my direction. I couldn't ignore it if I tried.Regardless of the understanding that sexism was much more prevalent in the society that Machiavelli lived in, the misogyny within Mandragola personally made me very, very uncomfortable. Where some people may be able to disregard the sexism and enjoy the play, I was not able to. Quotations like "The real sin is to displease your husband" and "All women are a little light in the head; if one of them can string two words together she is considered a marvel- in the country of the blind the one-eyed man is king" were amongst those that just made me cringe. Machiavelli obviously isn't the beacon of moral goodness, so my disapproval stems mostly from the fact that the sexist plot leeched at my ability to enjoy it.On the other hand, apparently there is a way to read this play as a political satire where women are Italy (or something of the sort). I evidently didn't read the play that way. Perhaps the sexist elements are understood differently in reading the play as a political satire rather than a simple comedy. I might have to return to this one after gaining a better understanding of history during that time period.Some nice quotations (taken out of context so they sound more profound):"As far as conscience is concerned, you have to accept this common rule: the good must never be sacrificed for fear of the evil.""Fear of the evil is greater than the evil itself."(The 'evil' is Lucrezia having sex with someone other than her husband. But hey.)Overall, it's a quick play and a lesser-known work of Machiavelli. Despite my qualms with its treatment of women, it did manage to hold my attention.Entertainment value: 2/5Writing quality/style: 3.5/5Readability: 2/5 (5 being the most difficult to read)Characters (depth/development): 1/5Plot: 1.5/5The edition of 'Mandragola' that I read was a part of the anthology Eight Great Comedies and was translated by J.R. Hale. This book that was lent to me by my school as a part of our English unit on comedy, where we briefly studied The Importance of Being Earnest, another play within the volume. As this school year is coming to an end, I figured that I should try to read some of the other comedies while I had the book in my hands.

  • T.F. Rhoden
    2018-11-22 03:09

    In preparing myself for a class I shall be attending next semester on Niccolò Machiavelli, I stumbled upon this play by Machiavelli entitled Mandragola (or Mandrake, as in the herb, in English). I had already read The Prince some years back, and have just started on Discourses on Livy. These two are, of course, the two one must read if one wants to have a decent sense of Machiavelli's contributions to political theory. However, since so much of his stuff can seem heavy at times, reading something more lighthearted by Machiavelli has been a lot of fun. Mandragola is a comedy that takes place in Florence in the early sixteenth century. The characters are all humorous. The main character, Callimaco, is something of a rakehell, but a nice enough fellow. The play begins with him back at home in Florence after just finishing his studies in Paris. We learn that Callimaco has returned to Florence because of the reputation of one supposedly comely-looking girl, who is married to an older rich gentleman. Callimaco hatches a plan with his servant on how to turn the older husband into a cuckold. Essentially, this play is about Callimaco trying to get laid with some other man's wife. The comedy behind the play is in all the misadventures in which Callimaco and his team of licentious buddies involve themselves whilst accomplishing that goal. More than a few good lines pop up in the dialogue, but my favorite scene is probably the last one, where, after the exciting deed has been done, everyone goes to church to make repentance--some more than others. From a political theory perspective, Machiavelli's diction become important. Favorite words of his (like virtue, fortune, others...) are peppered throughout the dialogue, but on first read I found myself loosing myself in the story too much to pay attention to what any of this might mean in comparison to Machiavelli's larger body of political work. Doubtlessly, I shall be rereading this short play later in the coming months to work out these larger issues, assuming that they are there. For those less interested in the political theory aspect, Mandragola still makes for a funny read. I hope I can see it some day performed on stage. It would be interesting to see how a director might flesh out the scenes and characters.http://tfrhoden.blogspot.com/

  • Julian Meynell
    2018-12-11 07:14

    This is a comedic play by Machiavelli. The plot is straight forward and Machiavellian. A young man and his acquaintances concoct a scheme to seduce the young and beautiful wife of a rich fool. It is a useful disproof to some new kinder-gentler interpretations of Machiavelli. It is in the scheming protagonist school of romantic comedies, which are my favorite. The plot is straight forward and the scheme is not really ever set back. It is quite dirty at times, but the 16th century was more sexually explicit than anytime until the 20th century. It is the kind of play that can attract labels of sexism, I suppose quite fairly, but to me a sophisticated reader should be able to handle it without a problem. I am not a big fan of just dismissing works because they fail to love up to twentieth century morality. More importantly, it is thoroughly Machiavellian. Every one in the play looks after their own interests at the expense of everyone else. The heroes of the play are the ones that scheme the best. Everyone is trying to deceive everyone else. The figures of fun in the play are not either the bad people or the good people, but the ones who scheme the worst. Hence the elderly husband is a person who has married for an heir and to get a hot wife, but in his own ruthlessness goes to extreme lengths to get himself cuckolded. Its a very cynical play, but also very light and socially satirical. It has a completely amoral Friar who is a confessor and there are bits and pieces around the confessional, which are surprising in how far they go.The comedy shows the lighter more humane side of Machiavelli. It puts his philosophy naturally into a stream of romantic comedy that was at its height in the Restoration period and in the screwball comedies of the 30s and 40s. Interesting and worth reading.

  • Danielle
    2018-12-06 01:27

    Prima di leggere “La mandragola”, le opere di Niccolò Machiavelli mi sembravano secche e noiose. Pensavo che la maggior parte fossero basate sulla politica e che le pagine erano piene di retorica filosofica. Tuttavia, questa commedia è divertente e leggera ma non manca un tema che richiede riflessione. Infatti, Machiavelli mi ha quasi convinto che il fine giustifica i mezzi!

  • Nour AlHaj Yehia
    2018-11-15 02:32

    عمل ساخر ناقد جميل، صيغ بسلاسة وعمق، يتحدث عن أعمدة المجتمع حين تكون سببا في انهياره، بدءا من الرّهبان الذين يمارسون الدّين كفعل مصلحة بدلا من فعل روح، وانتهاء بمن يدّعي الفضيلة ثمّ يقبل بأول خطيئة تُعرض عليه لمجرد أنّها ترتدي قناع الفضيلة.

  • Xitsuka
    2018-11-24 01:16

    I need some good time to write the review of this one oh dear heavens Machiavelli is the embodiment of manliness I'm just dying and my libido is boiling darker than ever I WANT TO MARRY HIM AAAAAAAAAAAAAAAHHHHH (pass out

  • Martin Kollouch
    2018-12-07 04:30

    Jako bys to neznal: Jak málo dobrého nakonec najde člověk v tom, po čem prahne, porovná-li to tím, co všecko doufal najít! A z druhé strany: Co horšího se mi může stát, než že umřu a půjdu do pekel. Ale co jiných už umřelo - a kolik je v pekle výtečných lidí! Tak nač by ses ty styděl odebrat se tam taky. Obrať se čelem k svému osudu: Buď se zlu vyhni - a nemůžeš-li se mu vyhnout, nes je jako muž. (Monolog Kallimacha, čtvrté jednání, výstup první, s.44-5)

  • Jon Catherwood-Ginn
    2018-12-05 08:21

    In a surprising aesthetic turn, Machiavelli pumps out a slap-stick farce(!) in The Mandrake: the story of a man who—in typical “ends-justify-the-means” style—concocts an elaborately deceptive scheme to bed the woman he desires. While, thematically, Mandragola clearly preaches Machiavelli’s unique ideology, the play also contains a series of intriguing departures from Machiavelli’s viewpoint and traditional Renaissance dramatic tropes.In the opening of the play, the author presents a chorus of shepherds and nymphs, who, in turn, provide a segue into the prologue, which… (finally) leads into the action of the play proper. Why does Machiavelli provide not one but two expository “frames?” Is this a play within a play within a play? Also, the integration of shepherds and nyphms is a unique addition—is this a carry-over of the comedic tradition pioneered by ancient Greek satyr plays and medieval farces like the Second Shepherd’s Play? What would this prologue to the prologue add to a contemporary adaptation of The Mandrake?Moving on to the prologue itself, Machiavelli offers an incredibly meta introduction to the play (a la Plautus). In particular, the playwright seems preoccupied with illustrating his intent (which happens to be wicked cynical). Why did Machiavelli write The Mandrake? From the horse’s mouth: to “make his dull, unhappy days pass more pleasantly.” In addition to this, Machiavelli hates on his (potential) critics pretty fiercely; in doing so, the Italian essayist asks: what’s the purpose of making art anyway? A weighty question to start an otherwise care-free comedy.The Mandrake showcases lots of idiom – why? Is this a common trope in Italian Renaissance drama? If anything, this characteristic of the play adds a heavy dose of colloquial flavor, which fits well with the characters’ preoccupation with geography, Italian mores, and being sufficiently metropolitan.In addition to peppered idiom, Mandragola is rife with casual asides (even in the form of full speeches). In sharing these asides, the characters create a unique dynamic—the audience becomes intimately involved (through awareness and, in turn, passive acceptance) in the play’s overarching conceit. How could this be amplified to create an environment in which the audience felt like real accomplices to the crime of Lucrezia’s deception? This would most certainly enhance the moral ambiguity of the play. On the other hand, would it sacrifice the laughs? I dunno… uncomfortable laughter is always pretty amusing, too.Any contemporary review of Mandragola would be insufficient without mention of the play’s overwhelming misogyny. Most notably, The Mandrake is chauvinistic in its central conceit: with the aid of Ligurio, Callimaco lies to Lucrezia and her husband Nicia in order to have sex with the heroine. More specifically, however, Machiavelli displays the work’s misogynism moments like Brother Timothy’s speech about women being grueling to talk to, though great to exploit for money in a confessional. Since the play was written in the 16th century, it’s unsurprising that Mandragola possesses a chauvinistic air—this conclusion in and of itself is pretty unremarkable. However, a director of a contemporary adaptation of The Mandrake should definitely consider this aspect of the play before mounting the production. Should contemporary directors continue to stage The Mandrake? Consideration of its misogyny should not serve as a deterrent from its staging. If anything, this aspect of the play should become a jumping-off point for post-show conversation with the audience. Is The Mandrake chauvinistic? How could a contemporary director adapt this show—for example, through gender-blind casting—to undercut or comment upon the show’s gender dynamics?One particular moment in The Mandrake that stuck out to me was a moment of Callimaco’s apprehension about Machiavellian tactics. At one point, Callimaco notes that, when he does achieve what he wants (bedding Lucrezia), he will most assuredly be dissatisfied (as a result of the guilt associated with this grand deception). How much of this is the voice of Machiavelli? Is the playwright paying lip service to the opposite side of the debate or does Machiavelli truly have reservations about his iconic “ends-justify-the-means” ideology?With all its thematic ambivalence, The Mandrake offers directors lots of leeway for directorial interpretation. At its core, is the play cruelly deceptive? Blindly farcical? This kind of flexibility makes Mandragola a dream to direct.

  • محمود أغيورلي
    2018-11-29 07:20

    مقتطفات من مسرحية الماندراغولا للكاتب نيكولا ميكافيلي ------------------إن دهاءك، وحماقة زوجي، وبساطة أمي، ونفاق الراهب الذي اعترفُ عنده، جعلتني كلها أقوم بما كان من المستحيل أن أقوم به من تلقاء نفسي، وإني أميل الآن للظن بأن هذا كله حدث بتدبير سماوي وإني لست بالطبع قادرة على دفع ماتريد السماء أن أقبل به-----------------فلا شك أن زماننا اليوم قد أفسد قيم الأمس القديمة ويتحتم الآن على الناس ممن يكثرون اللوم أن يلتزموا حتى التشنج-----------------لأن الحياة قصيرةوالأحزان كثيرةيتحملها الجميع وهم يعيشون ويكافحون.نجري خلف رغباتناونحن نستهلك السنين.لكن من يلقي جانباً أهواءهليعيش مع الأحزان والمتاعبلا يعرف حيل الدنيا، أو الشروروالأحوال الغريبة،التي تخدع كل الأحياء.كيما نتهرب من هذا العذابقررنا أن نعيش بعيداً عن أحزان العالم ومضايقات الحياة،لنكون على الدوام في أعياد ومسراتشباباً رشيقين وحوريات سعيدات.وقد جئنا الآنبهذه الموسيقىلنُكرم هذاالحفل السعيد وأطيب الأصحاب.-----------إذا كنت لم أقل لك ما أنا الآن قائلُه، فهذا لم يكن لقلَّةِ ثقةٍ بك،لكن لأن الإنسان يجب أن يكتم الأمور التي لا يريد أن يعرفهاغيره وأن لا يفصح عنها إلا مكرهاً. أما الآن إذ أظن أني بحاجةإلى عونٍ منك فإني سأفصح لك عن كل أمر------------إنه ما من أمرٍ يبعث على القنوط إلا وفيه ما يبعث علىالأمل، وإذا كان هذا الأمل ضعيفاً وبلا جدوى فإن إرادة الإنسانورغبته بأن يحققه سيجعله يبدو غير ذلك-------------كم هو سعيد من يولد جاهلاً أحمقلا يهمه طموحلا يخاف أمراً ولا يخشى.قولوا باللاتينية لذلك الدكتورالذي يثير الملل معاً والألمأن حماراً يطير،فسيصدق من شدة شوقه للولدسينسى كل أمرٍ آخرلأنه لا يريد إلا الولد.---------------عشت الزمن بقلق ومازلت فيأرق. حقاً إن الطبيعة والحظ يحافظان على حسابنا معهما فيتوازن مستمر، حتى إن المرء لا يناله خير من طرف حتىيظهر في وجهه شر من الطرف الآخر، وكلما زاد رجائي تنامتمخاوفي. يا لشقائي! هل يقيد لي أن أبقى هكذا في ظل متاعبمتواصلة، تعذبني المخاوف ويدغدغني الرجاء؟ إني لست إلاسفينة تتنازعها رياح متناحرة قد يتحقق أشد ما تخشاه عندماتقترب من الميناء.-----------------ألا تعلم كم هوقليلٌ الخير الذي يجده الإنسان في الأمور التي يرجوها قياساً بماكان يتوقعه؟----------------قال حقاً من قال إنصحب َ ة الأشرارِ تقود إلى المشنقة. كما أنالرجل يق ع في الشر وهو ليس شريراً، بل لأنه شديد الطيبةوسهل القياد. ويعلم الله أني لم أحاول الإساءة لإنسان بل كنتدائماً في الدير أتلو صلواتي وأقوم بفرائضي حين جاءني هذاالشيطان ليغوريو فجعلني أغمس إصبعي في أمرٍ خاطئ ثماتبعتُ إصبعي بذراعي بل بكلِّ شخصي، ولا أعرف ما الذيسيحدث لي بعد هذا. لكني أسّلي قلبي بالظن أن الأمر الذي يهمكثيرين يجب أن يعالجه كثيرون------------

  • Amandine
    2018-11-13 09:12

    Review: italiano / françaisUn'opera che volevo leggere da qualche tempo e non mi pento di questa scelta di lettura! L'ironia di Machiavelli sui diversi tipi di caratteri (l'innamorato, il frate, il valletto, ecc.) mi ha fatto sorridere più di una volta e, sebbene non è sempre facile a leggere (quando l'italiano non è la lingua nativa), lo stilo è molto piacevole a leggere. Questa commedia, con una storia piuttosto semplice e "classica", fa ridere, ma anche riflettere: sui caratteri o sul bene e il male, ecc. Mi piacerebbe vedere questa commedia su scena, in italiano o in francese. Une œuvre que je voulais lire depuis quelques temps, et je ne regrette pas ce choix! L'ironie de Machiavel sur les différents types de personnages (l'amoureux, le prêtre, le valet, etc.) m'a fait sourire plus d'une fois et, bien que pas toujours facile à comprendre (quand l'italien n'est pas sa langue natale), le style est très agréable à lire. Cette comédie, avec une histoire assez simple et "classique", fait rire, mais aussi réfléchir: sur les personnages ou sur le bien et le mal, etc.J'aimerais voir cette pièce sur scène, en italien ou en français.

  • Phillip
    2018-11-24 06:33

    This is a really interesting play because it seems like remarkably little happens. The plot is quite short, and focuses mostly on one guy and his friend trying to trick this old man into letting the guy sleep with the old man's young attractive wife. Compared to modern plays or to something like Shakespeare, there is little action and comparatively little scheming. Things just seem to play directly out with no real major twists in the plot, which seems very odd to a modern reader used to suspense and reversals.One useful context for understanding this play is the comedia dell'arte tradition. As I understand comedia dell'arte, one of the common storylines is the young man/men tricking the old man into letting him sleep with a young wife, and into giving up a large amount of money, which this play also features. I am not familiar enough with the comedia to really say whether it seems like Machiavelli is accurately and seriously using the form or whether he's satirizing it (the way many historians now suggest that The Prince is a satire).

  • Fausto
    2018-11-13 03:09

    COMEDIA MAQUIAVÉLICANotable obra teatral que, como anuncia la sinopsis, pasa por ser la mejor comedia del Renacimiento. El argumento tiene mucho en común con la esencia de los cuentos de Boccaccio: un enredo para gozar el amor de una mujer. Con personajes arquetipos de la comedia clásica (el religioso parásito, el joven enamorado, el viejo ridículo, el sirviente astuto) en una trama de adulterio y marido burlado, Maquiavelo ha creado una historia divertidísima con giros inesperados, diálogos agudos y comentarios procaces; pero que no se queda en los superficial, es una obra que ahonda en varios aspectos donde su principal baza radica en la crítica social (familia, iglesia, moral) y, cómo no, en los defectos y vicios de las personas.Mi nota: 8.

  • Ilaria ♡
    2018-11-11 04:27

    This was unexpectedly good.I read The Prince and this one is definitely up to it, although this was way comical, especially in the characterisation of the people.They were stock-types, just as Classic theatre's characters, but they were symbol of humanity in the negative.The story reminded me of Boccaccio's novellas of Decameron, particularly the ones about jokes (with the use of intelligence).The moral of Mandragola is the negative essence of humanity and we can see that because any of the characters is innocent nor can be considered as a positive model.The skepticism we find in The Prince is pretty clear in this book as well.Ilaria.

  • Alanna
    2018-11-15 01:31

    Unexpected for those who are unfamilliar with Machiavelli's cannon. Light comedy/satire about the roles of women and political power. This is the perfect little play for some light reading enjoyment.

  • Madeleine
    2018-12-11 09:20

    It was pretty interesting! Made me think a lot about the characters. I'd love to see this live.

  • Eric
    2018-11-27 04:11

    The Prince as a lover; still funny 500 years later.

  • Hannah Goff
    2018-11-10 07:26

    Give insight into how homosexuality was viewed in the Italian Renaissance. Very interesting.

  • Giada
    2018-11-28 01:16

    Da l'altro canto, el peggio che te ne va è morire ed andarne in inferno...La Mandragola rappresenta l'apice della produzione teatrale di Machiavelli (di per sè alquanto scarsa), nonchè una commedia significativa a livello linguistico e stilistico, vista la capacità dell'autore di far uso di un volgare vario ancora in affermazione.La trama è alquanto semplice: Callimaco innamorato di una donna sposata, sfrutta le difficoltà della giovane Lucrezia e del marito ad avere figli per diventare suo amante. Fingendosi medico riesce a convincere lo sciocco Nicia a far bere alla moglie una pozione di Mandragola, che avrebbe restituito fertilità alla donna. La Mandragola avrebbe casuato tuttavia la morte di colui che per primo avrebbe avuto un rapporto con la giovane, dice mentendo Callimaco; per cui qualcuno al posto di Nicia si sarebbe dovuto sacrificare. Intervengono così Sostrata, madre della giovane, e Frà Timoteo per convincere Lucrezia a mettere dapparte la sua serietà per la felicità propria e del marito. Il giovane "sacrificato" sarà grazie ad alcuni espedienti di Ligurio, amico di Callimaco, Callimaco stesso travestitosi. Callimaco in una notte riuscirà a conquistare l'amore di Lucrezia, ed in quanto fintosi medico, anche la fiducia di Nicia, e la possibilità dunque di vivere tranquillamente il proprio amore con la giovane.I personaggi della commedia rappresentano la trasposizione nella società contemporanea al Machiavelli dei classici tipi greci e latini, per quanto molti di essi presentino tratti spesso attenuati.Nicia è probabilmente la macchietta più azzeccata: Nicia è lo sciocco per eccellenza come dimostra il fatto che è lui stesso a prendere parte al raggiro del quale sarà vittima.Lucrezia, personaggio alquanto discusso dalla critica, è, secondo la mia opinione, la figura dai tratti più deboli nonchè meno precisamente delineati. E' la figura che rimane più anonima all'interno dell'attivo cast dei personaggi, nonchè quella di cui si parla soltanto indirettamente, proprio come a volerne sottolineare la dipendenza dall'opinione altrui.Frà Timoteo è l'opportunismo e la corruzione, incarna perfettamente la visione che l'autore aveva evidentemente della Chiesa della propria epoca.Callimaco persegue, più risoluto degli innamorati della tradizione classica, il proprio ideale amoroso, privo di scrupoli e con dubbi che lo portano a malapena a sostenere:"Da l'altro canto, el peggio che te ne va è morire ed andarne in inferno: e' son morti tanti degli altri! E sono in inferno tanti uomini da bene! Ha' ti tu a vergognare d'andarvi tu?"Avendo dunque analizzato trama e personaggi, l'ultima nota da sottolineare sulla commedia è appunto quella, già introdotta, del linguaggio. Machiavelli sfrutta con grande abilità la possibile varietà stilistica e linguistica a sua disposizione, facendo ad esempio uso di formule brevi e remissive nel caso di personaggi appunto "deboli" quali Lucrezia, e utilizzando espressioni dialettali e proverbiali quali quelle pronunciate da Siro, lo schiavo di Callimaco.Infine il retroscena culturale al quale è ricollegabile la commeia è significativo: nella Mandragola è possibile intravedere la commedia di Plauto e Terenzio tanto quanto la novellistica boccacesca.La commedia del Machiavelli è certamente interessante da leggere ed analizzare, anche molto più approfonditamente di quanto io non abbia fatto; tuttavia la commedia non è esattamente il mio genere preferito, tanto più se si parla di commedia rinascimentale: trovo nella commedia greca e latina il fascino dell'antico e della narrazione della società molto spesso volutamente capovolta. Inoltre l'espediente comico della Mandragola non mi ha colpita particolarmente; insomma se la commedia si pone l'obbiettivo di far ridere lettore e spettatore con me quest'opera ha in buona parte fallito, sono riuscita molto più ad apprezzare l'umorismo antico a noi lontano che non la banale comicità qui riscontrata.

  • Colby Rice
    2018-11-15 01:20

    An interesting farce comedy that essentially reinforces what Machiavelli's been saying all along: "The ends justify the means". Being that I read this in class, I wrote a required Play Reader's Journal for this piece, and so I'm just going to use that as my review.** SPOILERS FROM THIS POINT ON!!! **Play Reader's Journal: Niccolò Machiavelli's MandragolaI. Vital Statistics1. Title: Mandragola (The Mandrake)2. Playwright: Niccolò Machiavelli3. Date of Composition: 1504; also 1524-15264. Period: The Italian Renaissance 5. Company/House of Initial Performance: Performed during the Carnivale in Florence6. Setting of Play: Florence7. Genre of Play: ComedyII. Characters and ActionCharacters1. Callimaco Guadagno: a dastardly fiend who is “in love” / in lust with Lucrezia, and who desires to sleep with her.2. Siro: Callimaco's servant3. Messer Nicia Calfucci: an old, “simple-minded”, and rich judge, who is also Lucrezia's husband. He wants a son and heir.4. Ligurio: a marriage broker and hack, who now hustles food out of people for a living, He helps Callimaco to get into bed with Lucrezia5. Sostrata: Lucrezia's mother, who doesn't see anything wrong with her daughter having a lover, and a baby, along with a rich husband. (Is she the early incarnation of feminism?)6. Friar Timoteo: a corrupt friar and man of the cloth who Callimaco convinces (read: pays) to play an integral role in the deception of Lucrezia and Nicia7. A Woman: a person who introduces Machiavelli's idea of women and introduces the themes they represent (I think)8. Lucrezia: a beautiful and very virtuous woman, whose reputation for both precedes her. She is controlling of her husband NiciaAction While living in Paris, Callimaco hears of the famed beauty and virtue of Lucrezia, the wife of a rich judge, Messer Nicia. He is so enamored with her that he returns to Florence to find, court, and sleep with Lucrezia. He cannot do so, however, because Lucrezia is married. Still, there is a loop hole for Callimaco: Lucrezia and Nicia have yet to have a child and heir, and Nicia wants a son more than anything. So Callimaco, his servant (Sirio), a marriage broker (Ligurio), and a corrupt friar (Friar Timoteo) devise a plan to help Callimaco get into bed with Lucrezia. Callimaco will disguise himself as a doctor and prescribe Lucrezia the mandrake, a potion that will increase Lucrezia's chances at having a child. The downside, though, is after Lucrezia takes the potion, the first man to sleep with her afterward will die. This isn't true, of course; this is all a ruse that Callmaco throws onto Nicia so that Callimaco will be allowed to sleep with Lucrezia.After a lot of scheming and plotting, Callimaco use Friar Timoteo to convince Lucrezia that having an affair on her husband is actually not morally corrupt, but is Lucrezia's divine duty. Lucrezia, being the morally virtuous woman that she is, is very against this entire plan. In the end, however, her mother (Sostrata) and the Friar convince Lucrezia that this is her duty and she need not feel corrupt or ashamed. Reluctantly, Lucrezia agrees to the plan.When Callimaco (disguised as the supposed sacrificial lamb who will sleep with Lucrezia and die from the mandrake) finally goes to Lucrezia and reveals his true identity, they sleep together. Lucrezia now knows that this entire mandrake deal is a farce and that she was set up and used by all the corrupt people in her life. She decides that she will then take her own piece of the pie, and so takes Callimaco as her lover. The plays ends with everyone essentially getting what they want while disregarding their piety altogether.III. Themes and Resonance Machiavelli certainly does not hold back in his critique of the church and of the Bible, both of which are deliberately misinterpreted in order to further the ends of evil. This particular quote from The Friar really stood out to me “As for whether the act is a sin, that's easy: because it is the will that sins, not the body; and it's a sin if it displeases the husband, whereas you are obliging him; or if you take pleasure in it, whereas you find no pleasure” (21). The Friar also tells Lucrezia that “her purpose is to fill a seat in paradise and make her husband happy” (21). Here, Machiavelli shows us how easy it is for men to be swayed to the side of evil when what they desire is close at hand. Nicia wants a son, but is pushed into this crazy situation that he knows is wrong (morally and biblically), all because he wants an heir. The Friar is getting paid off with crazy coins to engage in this deception (the very act of which is a major insult to the Church and their system of exchanging morality for money). And of course, Callimaco, the scoundrel, is totally revamping the idea of “monogamous marriage” and introduces polyamory into a once pious household. This is an episode straight out of Days of Our Lives... the Italian Renaissance version.The theme that stood out most to me is the one that was realized through Lucrezia: that, even though we may have an instinct of right and wrong, sometimes external power dynamics can exert such force on us that we are led astray from our own morals. I found it pretty amazing (and daunting) that though Lucrezia knew that laying down with another man was wrong, she gave into the religious preachings and proddings of the Friar to do “God's work” and fall pregnant with another man. Machiavelli makes an interesting point about man abandoning his own inner compass for the sake of religion and allowing true evil to befall himself and his household as a result.Another interesting take on this play is that one can say that Machiavelli has succeeded in demonstrating the viability of his own philosophy, “the ends justify the means”, above and beyond that of the Church. Can man truly be saved? Is the Church potent enough to really led men into the hands of God? Or is Machiavelli truly the only one who understands man's true nature, and does man's nature always win in the end, even against the omnipotence of God? All questions I considered when reading this piece.In conclusion, though the points raised by the piece are interesting, Machiavelli's overstated theme felt a little forced and unconvincing. This was mainly due to the style in which he told the story, mainly by using the Prologue and a lot of exposition. I think that if Machiavelli's bitterness weren't coming across so clearly, he could be more convincing on the page as to the Church's corruption. While the Prologue was really entertaining and brazen, it pretty much killed any hope of subtlety and subtext. Therefore, the playwright's intentions were made painfully clear. From a stylistic standpoint, I personally tend to be more convinced of a play's message when I'm not being beaten over the head with it, where I can fall into the “showing” aspect of the piece more so than the “telling” aspect of the piece. On my part, I'm dying to know how the audiences reacted to this play in that time.

  • Carlos
    2018-11-17 04:28

    Once I found out that Machiavelli wrote a play I knew I had to read it. After finishing it, it became obvious that Machiavelli’s practical cynicism permeated his entire literary output. I also found the novel incredibly modern in its honest portrayal of men’s basic instincts and the folly of expecting piety to dull any of them. In a simple story of a young man lusting after a beautiful but married woman Machiavelli manages to give the audience a case scenario of his philosophy in action.

  • Katie
    2018-12-06 04:30

    It was a light, quick read, required for a class I am taking in college. I honestly never knew Machiavelli wrote a play -- and certainly not one as seemingly frivolous (though the subtext is obviously not frivolous). I can neither say I enjoyed nor disliked it; this was simply required reading I would not otherwise have selected.

  • Mariana
    2018-11-25 03:21

    Me encantó! Muy buena comedia.

  • Joanna
    2018-12-06 06:30

    Der Hexenmeister schnappte auf, dass ich mal etwas von Machiavelli lesen wollte. An so etwas wie "Die Alraune" habe ich dabei zwar nicht gedacht, aber als Einstieg eignet sich diese Komödie wunderbar.Ob ich die Parodie erkennt hätte, hätte ich nicht davon gewusst, kann ich nicht sagen. Aber so habe ich stets darauf geachtet und tatsächlich treibt Machiavelli bekannte Themen bis an die Spitze. Hier täuscht jeden jeden und wenn die Figuren in irren Verkleidungen durch Florenz huschen, kann man nicht anders, als lachend den Kopf zu schütteln.Dabei lässt der Autor an keinem ein wirklich gutes Haar, jeder bekommt sein Fett weg, ohne es wirklich zu realisieren. Der Anwalt ist naiv-blöd, der Schmarotzer intrigiert und der junge Kallimachus denkt nur an seinen Spass. Auch der Priester wird nicht verschont, der ist so geldgierig, dass er alles dafür tut und stets die Armen vorschiebt.Spannend fand ich auch, dass Machiavelli, obwohl er ein Theaterstück schreibt, sehr viel Lokalkolorit einbringen kann. Normalerweise beschränken sich solche Stücke auf bestimmte Zimmer, die man im Theater rasch anfertigen kann. Aber trotz der beschränkten Möglichkeit fühlt sich sogar der Leser des Textes nach Florenz versetzt, spürt den warmen Wind und es kommt sogar leichte Ferienstimmung auf.Diese hält aber nicht lange an, da die Figuren bereits wieder die nächsten ulkigen Pläne schmieden. Ehrlich, ich würde das Stück sehr gerne mal auf der Bühne sehen - das muss ein grandioses Erlebnis sein!

  • Manuel Magro
    2018-11-19 03:14

    La comicità e la licenziosità di questo libro sarebbe normale oggigiorno, bensì fu uno scandalo all'epoca, nel XVI secolo. Una bella opera teatrale di uno dei maggiori esponenti del '500, esilarente e facile da leggere

  • زكرياء
    2018-11-13 04:36

    مسرحية كوميدية تنتقد فساد المجتمع الإيطالي في القرن 15 وبالخصوص السلطة الدينية والسلطة السياسية وهي بالتلخيص عن السقوط الأخلاقيجميع شخصيات المسرحية تتواجد فيهم صفات الأمير المثالي الذي ذكره ماكيافيلي في كتابه الشهير وبالتالي توجد علاقة بين المسرحية وكتاب الأمير وهذه المسرحية تؤكد على البعد الأخلاقي الإنساني في فكر مكيافيلي... النهاية واقعية جداً ومواضيع الرواية معاصرة جدا وبالتالي هذه الرواية مناسبة جدا أو بالأحرى ممتازة لكي يقوم بتعريبها اي مؤلف مسرحي لعرضها على خشبة المسرح في المغرب أو ربما في القاهر أو بيروت أو حتى الرياض.قرأتها للمرة الثانية وأحببتها أكثر.. يوم30/05/2016 ، قرأتها في ساعتين مع أخد هذه الإقتباسات التي أعجبتني وأثارت فكري.second read* الإنسان يجب أن يكثم الأمور التي لا يريد أن يعرفها غيره وأن لا يفصح عنها إلا مكرهاً.قسمت وقتي بين الدراسة والملذات وقضاء حاجياتي ولم أسمع أن تجري واحدة من هذه الأمور على حساب غيرها. قد يولد الشيء شيئاً يطوره الزمان.الأطباء لا يعرفون شيئاً في الطب مثل الصياد لا يعرف ماذا يصيد.الله يخلق البشر فينتشرونأفضل الموت على حياة كهذه. - عليك أن تتحكم باندفاعات قلبك.سوف تتلاشى كل آمالك عالتي علقتها على وعودي.يجب أن نجد طريقة أخرى تؤجج في قلبي الآمال، حقيقية كانت أم زائفة، وتولد لدي أفكار تهون علي متاعبي. حلو الكلام ضروري لحمل النساء على فعل ما نريد. لا يمكنني أن أكون زوجا إذا لم أتمكن من حمل امرأتي على فعل ما أريد. الدراهم مساوء نفوسنا. "كم هو سعيد من يولد جاهلاً أحمقا لا يهمه طموح، لا يخاف أمراً ولا يخشى."على الإنسان الرصين أن يختار بين الشرور أفضلها، إن لم يكن في الأمر ما يثقل الضميركاليماكو: هؤلاء الإخوة الرهبان ماكرون خبثاء، وهذا طبيعي لأنهم يعرفون خطايانا كلها فضلا عن خطاياهم. ومن المنطقي أن يخدعوا من لا يعرفهم حق المعرفة فلا يتمكن أن يصل إلى هدفه. لا أريد أن تكلموه أنتم فتفسدوا كل الأمر، لأن أشباهكم يقضي النهار كله في مكتبه يفهم فيما الكتب من كتابة، لكنه لا يعرف كيف يحاكم أمور الدنيا.لا تخشِ شيئاً، فرحمة االله واسعة، والإنسان الذي لا يفتقر إلىالرغبة، فلن ينقصه الوقت ليندم على ذنوبه.إن أكثر الناس حباً بأفعال الخير هن النساء، لكنهن الأشد إزعاجا. من يعمل على إبعادهن فإنه يخسر الإزعاج والربح، ومن يقربهن يكسب الربح والإزعاج معاً. والحق أنه لا تفاح بدون ذباب.فليكن باسم االله. سأفعل ماتريدون، فلله والخير كل شيء يهون. أخبرني اسم الدير، أعطني تلك الجرعة، وإذا رأيت ذلكمناسباً فأعطني تلك النقود أيضاً لأبدأ بفعل بعض الحسنات.يبدو لي أني عالق بين مجنون وأصم، الأول يتملص مني والثاني لا يسمعني. لكني سأتجاوزهما وأبلي بأحسن مما يبليان.هل هو نهار أو ليل؟ هل أنا يقظان أو أني أحلم؟ هل أناسكران مع أني لم اشرب اليوم شيئاً حتى أسمع مثل هذهالترهات؟ الحقيقة أني خُدِعت لكنها خديعة تعود علي بالنفع، ان وبوسعي أن استفيد منهما كليهما بطرق مختلفة.الحقيقة أن كل النساء عقول صغيرة، وما إن تظهر امرأة قادرة على حبك كلمتين في جملةٍ مفيدة حتى يحسبونها خطيبةً مفوهة، فالأعور بين العميان دائماً بصير.إني لا أظن أنه من المسموح لي أن اصنع هذا الصنيع حتى لو لم يبق غيري في العالم كله لأبعث الطبيعة الإنسانية من جديد إن هناك أموراً كثيرة تبدو عن بعد كأنها فظيعة، غريبة، لا يمكن تحملها، لكن ما إن نقترب منها حتى نجدها إنسانيةً وهينة ومعتادة. وقد قيل قديماً إن الخوف من الشرور هو أشد وطأة على المرء من الشرور نفسها. وهذا ما ينطبق على حالنا اليوم.بالعودة إلى حديثنا أقول إن النظر في مسالة وطأة الضمير يجعلنا نتمسك بمقولة تؤكد أنه بين خيرٍ مؤكد وشرٍّ غير مؤكد علينا أن لا نترك ذاك الخيرِ حذراً من ذاك الشر.لابد من النظر إلى الأشياء في نهاياتها وغاياتهاإرادة الإنسان هي التي تخطئ وليس جسده حقاً إن الطبيعة والحظ يحافظان على حسابنا معهما في توازن مستمر، حتى إن المرء لا يناله خير من طرف حتى يظهر في وجهه شر من الطرف الآخر! هل تظن أن االله يبارك الشر مثل الخير؟ إن الراهب يريد أموراً أخرى غير صلواتك. إنه يريد الدراهم الموعودة يا للرهبان! واحدهم أسوأ من الآخر