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Mandragola
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This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.
Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface.
We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
57 pages, Paperback
First published January 1, 1524
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About the author
Niccolò Machiavelli
2,166 books5,030 followers
The Prince
, book of Niccolò Machiavelli, Italian political theorist, in
1513 describes an indifferent ruler to moral considerations with determination to achieve and to maintain power.
Niccolò di Bernardo dei Machiavelli, a philosopher, musician, and poet, wrote plays. He figured centrally in component of the Renaissance, and people most widely know his realist treatises on the one hand and republicanism of Discourses on Livy .
https://en.wikipedia.org/wiki/Niccol%...
1513 describes an indifferent ruler to moral considerations with determination to achieve and to maintain power.
Niccolò di Bernardo dei Machiavelli, a philosopher, musician, and poet, wrote plays. He figured centrally in component of the Renaissance, and people most widely know his realist treatises on the one hand and republicanism of Discourses on Livy .
https://en.wikipedia.org/wiki/Niccol%...
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Displaying 1 - 30 of 336 reviews
February 15, 2020
به احترام تمام دروغگوها، دغل بازان، جاکشها، پول پرستان، هوسبازان، زناکاران، سوءاستفاده کنندگان از قدرت، رواج دهندگان خرافات و فاسقان سر تعظیم فرود میآورم. و شما را آقای "ماکیاولی" بخاطر هنر کمنذیرتان در جمع کردن تمام این گند در یک کمدی دلارته ،ستایش میکنم.
هیچ چیز سر جای خودش نیست آقای ماکیاولی محترم، درهمستان است. آشفته و بیمعنی. انقدر همه چیز در اسف بار ترین حالت ممکن است که قلبا به شما و همهی آن نیکبختانی که در گور خوابیدهاند میگویم جایتان اینجا خالی نیست.
چه خوب که این نمایشنامه را نوشتید آقا. خواندنش باید حداقل باعث لبخندی میشد، به همین منظور نوشته بودید، درست نمیگویم؟ اما نمیدانم چرا مرا به گریه انداخت. شاید هم من آدم برعکسی هستم. شما به دل نگیرید.
.
امتیاز 3/5
هیچ چیز سر جای خودش نیست آقای ماکیاولی محترم، درهمستان است. آشفته و بیمعنی. انقدر همه چیز در اسف بار ترین حالت ممکن است که قلبا به شما و همهی آن نیکبختانی که در گور خوابیدهاند میگویم جایتان اینجا خالی نیست.
چه خوب که این نمایشنامه را نوشتید آقا. خواندنش باید حداقل باعث لبخندی میشد، به همین منظور نوشته بودید، درست نمیگویم؟ اما نمیدانم چرا مرا به گریه انداخت. شاید هم من آدم برعکسی هستم. شما به دل نگیرید.
.
امتیاز 3/5
June 24, 2017
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 παρηγοριά
τις ώρες της μελαγχολίας και της σιωπής,
που του επιβλήθηκαν από ένα γεγονός:
αυτός, ένας διανοούμενος περιωπής,
δε βρήκε ως τώρα ανταπόκριση στην αγορά
με άλλα έργα, βαθυστόχαστα και σοβαρά.
Κι εδώ τα ίδια περιμένει - τι να πεις;
Ο πάσα ένας του την έχει στήσει στη γωνία
έτοιμος να χλευάσει και να ψέξει
όσα θ' ακούσει, ως την τελευταία λέξη.
Ορίστε που κατάντησε η κοινωνία:
οι αρχαίες λέξεις γίνονται καπνός
με 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...."
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 παρηγοριά
τις ώρες της μελαγχολίας και της σιωπής,
που του επιβλήθηκαν από ένα γεγονός:
αυτός, ένας διανοούμενος περιωπής,
δε βρήκε ως τώρα ανταπόκριση στην αγορά
με άλλα έργα, βαθυστόχαστα και σοβαρά.
Κι εδώ τα ίδια περιμένει - τι να πεις;
Ο πάσα ένας του την έχει στήσει στη γωνία
έτοιμος να χλευάσει και να ψέξει
όσα θ' ακούσει, ως την τελευταία λέξη.
Ορίστε που κατάντησε η κοινωνία:
οι αρχαίες λέξεις γίνονται καπνός
με 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...."
December 19, 2021
“Uno amante meschino,
Un dottor poco astuto,
Un frate mal vissuto,
Un parassito, di malizia el cucco,
Fien questo giorno el vostro badalucco”
Una cinica burla, questo il soggetto che Niccolò Machiavelli portò in scena (presumibilmente) nel 1522 a Firenze.
Una commedia dove il sorriso è più simile ad un ghigno.
Una burla che ricorda lo stile boccaccesco dove si mettono in campo le forze incrociate dell’ingegno, malizia e perfidia: questi gli ingredienti dell’amaro piatto servito a messer Nicia.
Un prologo e cinque atti mettono a punto l’inganno architettato dallo scaltro Callimaco che vuole a tutti costi possedere Lucrezia, moglie di messer Nicia.
Aiutato dal servo Siro e dell'astuto amico Ligurio, si traveste da medico per dare consigli su come avere i tanto desiderati figli che non arrivano.
Il consulto è presto fatto e sentenzia che l'unico modo per avere figli sia di somministrare a sua moglie una pozione di mandragola ma il primo che avrà rapporti con lei morirà.
La mandragola è una pianta a cui tradizionalmente si attribuivano qualità afrodisiache anche per il suo aspetto antropomorfo.
La “vittima sacrificale” sarà un servo che ovviamente sarà il travestimento di Callimaco stesso.
Sconfitte le riserve di Nicia non rimane che convincere Lucrezia di cui si occupa il corrotto fra' Timoteo.
La donna che inizialmente sembra essere oggetto passivo di tutto il meccanismo, alla fin fine è piacevolmente appagata dall’avventura tanto da dire:
” quel che ’l mio marito ha voluto per una sera, voglio ch’egli abbia sempre.”
Divertente ed imperdibile classico del teatro italiano.
May 3, 2020
Read in the Bondanella/Musa translation in The Portable Machiavelli.
Silly, and mostly not that funny - as is the case with quite a lot of the comedy I've read that's over 150 years old. Sometimes jokes can hold up as jokes even if their values are outdated, but that isn't too often the case in The Mandrake Root, and various absurd plot-holes are apparently recognised but then disregarded. It has its moments, though, and in general it was pacier and less boring than Virgins' Vows, one of a trio of Polish comedies from the 1830s I read a couple of days before this.
As I find with a lot of older texts, it was little details that were the most fascinating. e.g. Machiavelli's resentment at still not getting a job commensurate with his abilities - sometimes in lines about the writer of the play, at other times in the words of gullible buffoon Nicia, a nice touch of subtle self-mockery. Licentious behaviour at spas was already a thing, well before the 18th century, with which it's often most associated now. Although there were spas, holidays don't seem to have been an accepted part of life with standard routines: a rich lawyer complains of the hassle of having to uproot his household to travel to one. Some of Lucrezia's sentiments, especially at the end, may not feel plausible to the 21st century reader (if only we had commentaries on plays from 16th century women, to know if that was also the case for them) - but part of her backstory still rings true today. She had made a solemn vow to attend morning mass for 40 days in a row, but was sexually harassed or assaulted by a priest and stopped going half way through, despite the gravity of such a promise (she had to get a dispensation) and "Since that time she has been as nervous as a hare".
I was grateful to a Great Courses audio I finished a few weeks ago, The Western Literary Canon in Context: without it I wouldn't have recognised the significance of two important Classical references.
- Firstly in the editor's note: he has also managed to create a natural situation permitting him to observe the unities of time, place, and action without the slightest hint of any pedantic adherence to the so-called rules of dramatic structure that mar many of the other neoclassical dramatic works produced during this same period.
This evidently referred to rules established in Aristotle's Poetics and which remained culturally important for a very long time. (Though the lecturer didn't spell it out, they probably only loosened their grip over the course of the 20th century; it sounded as if Virginia Woolf still cared about it..)
- And another in the text: "a doctor of the law
who learned a lot by reading his Boethius"
Boethius was central to medieval thought and to the idea of Fortuna, a favourite motif of Machiavelli's - he's being mentioned ironically in this line.
The editor's note prompted me to read up a little on the comedies of Terence, one of Machiavelli's main inspirations for this play, and an essential of Latin education before the last hundred years. The late Peter Brown's introduction to the Oxford edition of Terence explained that most of Terence's plays have plots involving rape, and how rape and seduction were each viewed in the Roman world, more or less in reverse of how they would be thought of in the west in the 20th century, with seduction being worse in the Roman context. The plot of The Mandrake Root seems to sit almost midway between the Roman and contemporary attitudes: it is kind of a seduction, the circumstances would certainly be considered coercive today, but the objective is for the woman to be willingly involved with the protagonist, and the play celebrates it when she is. The last is the opposite of the Roman social norm as described by Brown, but also isn't the mainstream early modern Christian one either. And the whole play is another work in which Machiavelli can sound amoral and not very Christian.
You're probably not going to read this play unless you are a geek about early modern literature, or doing some kind of research or course, and I would say that's quite appropriate. I don't think it's a hidden gem that a wider audience might love, but it's pretty short, and can be interesting at times in a historical-source kind of way.
2-3 May 2020
Silly, and mostly not that funny - as is the case with quite a lot of the comedy I've read that's over 150 years old. Sometimes jokes can hold up as jokes even if their values are outdated, but that isn't too often the case in The Mandrake Root, and various absurd plot-holes are apparently recognised but then disregarded. It has its moments, though, and in general it was pacier and less boring than Virgins' Vows, one of a trio of Polish comedies from the 1830s I read a couple of days before this.
As I find with a lot of older texts, it was little details that were the most fascinating. e.g. Machiavelli's resentment at still not getting a job commensurate with his abilities - sometimes in lines about the writer of the play, at other times in the words of gullible buffoon Nicia, a nice touch of subtle self-mockery. Licentious behaviour at spas was already a thing, well before the 18th century, with which it's often most associated now. Although there were spas, holidays don't seem to have been an accepted part of life with standard routines: a rich lawyer complains of the hassle of having to uproot his household to travel to one. Some of Lucrezia's sentiments, especially at the end, may not feel plausible to the 21st century reader (if only we had commentaries on plays from 16th century women, to know if that was also the case for them) - but part of her backstory still rings true today. She had made a solemn vow to attend morning mass for 40 days in a row, but was sexually harassed or assaulted by a priest and stopped going half way through, despite the gravity of such a promise (she had to get a dispensation) and "Since that time she has been as nervous as a hare".
I was grateful to a Great Courses audio I finished a few weeks ago, The Western Literary Canon in Context: without it I wouldn't have recognised the significance of two important Classical references.
- Firstly in the editor's note: he has also managed to create a natural situation permitting him to observe the unities of time, place, and action without the slightest hint of any pedantic adherence to the so-called rules of dramatic structure that mar many of the other neoclassical dramatic works produced during this same period.
This evidently referred to rules established in Aristotle's Poetics and which remained culturally important for a very long time. (Though the lecturer didn't spell it out, they probably only loosened their grip over the course of the 20th century; it sounded as if Virginia Woolf still cared about it..)
- And another in the text: "a doctor of the law
who learned a lot by reading his Boethius"
Boethius was central to medieval thought and to the idea of Fortuna, a favourite motif of Machiavelli's - he's being mentioned ironically in this line.
The editor's note prompted me to read up a little on the comedies of Terence, one of Machiavelli's main inspirations for this play, and an essential of Latin education before the last hundred years. The late Peter Brown's introduction to the Oxford edition of Terence explained that most of Terence's plays have plots involving rape, and how rape and seduction were each viewed in the Roman world, more or less in reverse of how they would be thought of in the west in the 20th century, with seduction being worse in the Roman context. The plot of The Mandrake Root seems to sit almost midway between the Roman and contemporary attitudes: it is kind of a seduction, the circumstances would certainly be considered coercive today, but the objective is for the woman to be willingly involved with the protagonist, and the play celebrates it when she is. The last is the opposite of the Roman social norm as described by Brown, but also isn't the mainstream early modern Christian one either. And the whole play is another work in which Machiavelli can sound amoral and not very Christian.
You're probably not going to read this play unless you are a geek about early modern literature, or doing some kind of research or course, and I would say that's quite appropriate. I don't think it's a hidden gem that a wider audience might love, but it's pretty short, and can be interesting at times in a historical-source kind of way.
2-3 May 2020
August 22, 2020
Non amo molto i testi teatrali, ma devo dire che questa opera di Machiavelli mi ha stupito.
Intanto, perché da Machiavelli (che conoscevo per Il Principe di Niccol� Machiavelli e per l'opera sulla vita del condottiero Castruccio Castracani) non mi sarei mai aspettato una cosa del genere.
E poi perchè, diciamocelo, è divertente.
Il comparto di note e di introduzioni al testo mostra al lettore l'importanza avuta da quest'opera, il fiorentino dell'epoca è ben comprensibile anche oggi, i personaggi sono deliziosamente ricchi di caratteristiche negative (compreso il protagonista, che partito quasi da una posizione di amor cortese, si risolve a usare l'inganno per fare sua anche contro la sua volontà la donna concupita, e compreso il rappresentante della religione, che si mostra molto poco spirituale e assai terreno invece) e il tutto si svolge velocemente.
Avevo preso il libro completamente all'oscuro di cosa trattasse, l'ho iniziato titubante e ne sono uscito invece estremamente soddisfatto.
Intanto, perché da Machiavelli (che conoscevo per Il Principe di Niccol� Machiavelli e per l'opera sulla vita del condottiero Castruccio Castracani) non mi sarei mai aspettato una cosa del genere.
E poi perchè, diciamocelo, è divertente.
Il comparto di note e di introduzioni al testo mostra al lettore l'importanza avuta da quest'opera, il fiorentino dell'epoca è ben comprensibile anche oggi, i personaggi sono deliziosamente ricchi di caratteristiche negative (compreso il protagonista, che partito quasi da una posizione di amor cortese, si risolve a usare l'inganno per fare sua anche contro la sua volontà la donna concupita, e compreso il rappresentante della religione, che si mostra molto poco spirituale e assai terreno invece) e il tutto si svolge velocemente.
Avevo preso il libro completamente all'oscuro di cosa trattasse, l'ho iniziato titubante e ne sono uscito invece estremamente soddisfatto.
March 16, 2011
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.
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.
October 24, 2015
ترجمه ی اشعار - به طور خاص پیش درآمد - منو به شدت به خودش جلب کرد
طعنه های کتاب به کشیشیان و اهل علم هم خواندنی بود. دیدگاه طبیعت گرایانه ی ماکیاولی هم همچون سیاستش جلب نظر می کند
نکته 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
طعنه های کتاب به کشیشیان و اهل علم هم خواندنی بود. دیدگاه طبیعت گرایانه ی ماکیاولی هم همچون سیاستش جلب نظر می کند
نکته 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
September 10, 2017
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.
April 7, 2018
Potta di San Puccio, già solo sentire come parla Messer Nicia vale il biglietto d'ingresso!
May 30, 2013
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 MANDRAKE
Coming 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: 2/5
Writing quality/style: 3.5/5
Readability: 2/5 (5 being the most difficult to read)
Characters (depth/development): 1/5
Plot: 1.5/5
The 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.
November 19, 2019
حالما يذكر اسم ميكيافيللي فسيحضر في ذهن القراء ذلك السياسي المحنك صاحب المقولة الخالدة "الغاية تبرر الوسيلة" والكتاب المشهور الأمير والذي لا يزال يقرء ويدرس حتى أيامنا هذه.
ولكن أعماله الأدبية شبه مغمورة في عالمنا العربي
بل وربما معظمها لم يُترجم.
تدور أحداث المسرحية القصيرة - والتي من المفترض أن تكون هزلية- حول الحب والخيانة
وهي بسيطة بشخصيات قليلة لذا أجد أن أي شرح لها كفيل بحرق أحداثها كما حصل في المقدمة الطويلة التي وردت في النسخة الصادرة ضمن سلسلة إبداعات عالمية بعنوان "اليبروح" - العدد 337
لم أتفاعل معها أبداً كمسرحية هزلية
بل لم أستطع إيجاد موضع النكتة فيها
وعلى العكس تماماً فقد كان موضوع الخيانة واستغلال غباء الزوج وتواطؤ رجل الدين أمراً شنيعاً وفاضحاً
وفي الدراسة الواردة عنها فقد تم إسقاط المسرحية على الواقع السياسي والإجتماعي في عصر ميكيافيللي
وقد وجدت تفسيرها السياسي ساذجاً وإن كان مقبولاً بعض الشيء
أما تفسيرها الإجتماعي فواقعي ومنطقي
ولكن أعماله الأدبية شبه مغمورة في عالمنا العربي
بل وربما معظمها لم يُترجم.
تدور أحداث المسرحية القصيرة - والتي من المفترض أن تكون هزلية- حول الحب والخيانة
وهي بسيطة بشخصيات قليلة لذا أجد أن أي شرح لها كفيل بحرق أحداثها كما حصل في المقدمة الطويلة التي وردت في النسخة الصادرة ضمن سلسلة إبداعات عالمية بعنوان "اليبروح" - العدد 337
لم أتفاعل معها أبداً كمسرحية هزلية
بل لم أستطع إيجاد موضع النكتة فيها
وعلى العكس تماماً فقد كان موضوع الخيانة واستغلال غباء الزوج وتواطؤ رجل الدين أمراً شنيعاً وفاضحاً
وفي الدراسة الواردة عنها فقد تم إسقاط المسرحية على الواقع السياسي والإجتماعي في عصر ميكيافيللي
وقد وجدت تفسيرها السياسي ساذجاً وإن كان مقبولاً بعض الشيء
أما تفسيرها الإجتماعي فواقعي ومنطقي
November 22, 2018
Qualche settimana fa, girovagando per una libreria di Milano, ho trovato il libro più assurdamente inutile sulla faccia della terra. Il titolo non mi è dato ricordarlo (né ho intenzione di sprecare connessione dati per ricercare quell’obbrobrio) ma sostanzialmente consisteva in una “parafrasi” della Mandragola in italiano corrente.
Peccato che, forse, l’”””autore””” che ha deciso di darsi a quest’impresa (e anche la casa editrice che incredibilmente ha deciso che quella roba aveva buone possibilità di vendita) non si siano resi conto che, per quanto forse resa più accessibile da una semplificazione nei termini e nella struttura sintattica, La Mandragola deve il suo successo e il suo valore letterario (oltre che per la trama e per gli impliciti rimandi alla filosofia machiavelliana) alla sua propria lingua con cui è stata scritta.
Il lessico di Machiavelli, in quest’opera come nelle altre, è preciso, sferzante, ironico, e la sua satira sociale non risparmia nessuno dei suoi personaggi: anche Lucrezia, che all’inizio della storia viene dipinta come il prototipo della donna virtuosa, cede alla fine e non solo sottostà, ma partecipa attivamente all’intrigo ai danni di messer Nicia.
Mi sento qui in dovere di fare una piccola digressione per i lettori oltraggiati che hanno visto in questa commedia un trattamento orribile e degradante della donna in questione da parte della combriccola di Callimaco e hanno gridato al sacrilegio. Signori miei, il contesto storico è importante: come è possibile in parte scusare Kipling per la sua costante apologia del colonialismo inglese, suppongo che si possa scusate uno scrittore Rinascimentale per una certa condotta non proprio politically correct nei confronti del gentil sesso. Tanto più se risulta che, è vero, il personaggio di Lucrezia non appare in luce affatto positiva, ma che dire del prete che accetta dietro lauto pagamento di far abortire di nascosto una giovane donna E poi di ordire una trama che sfocerà irrimediabilmente in adulterio, oppure del marito stesso di Lucrezia, che prontamente accorda la sua complicità in un omicidio?
Tutte le bassezze della mente e dell’animo umano vengono qui rappresentate dalla sapiente penna di Machiavelli, che si dimostra non solo capace di utilizzare un lessico denso, uno stile “tutto cose” (per citare Benedetto Croce), ma anche di giocare sui punti deboli della società a cui apparteneva, senza ipocrisie o sentimentalismi, ma riprendendo quell’antico proverbio Romano che già era comparso in Plauto più di mille e cinquecento anni prima “Homo homini lupus”.
Il tutto, mantenendo la sagacia e la prontezza di spirito propria della sua penna, conferendo a questa commedia (pietra miliare della letteratura rinascimentale italiana), la possibilità di essere apprezzata, con mente critica ma anche con ilarità, anche e soprattutto dalle generazioni moderne.
Peccato che, forse, l’”””autore””” che ha deciso di darsi a quest’impresa (e anche la casa editrice che incredibilmente ha deciso che quella roba aveva buone possibilità di vendita) non si siano resi conto che, per quanto forse resa più accessibile da una semplificazione nei termini e nella struttura sintattica, La Mandragola deve il suo successo e il suo valore letterario (oltre che per la trama e per gli impliciti rimandi alla filosofia machiavelliana) alla sua propria lingua con cui è stata scritta.
Il lessico di Machiavelli, in quest’opera come nelle altre, è preciso, sferzante, ironico, e la sua satira sociale non risparmia nessuno dei suoi personaggi: anche Lucrezia, che all’inizio della storia viene dipinta come il prototipo della donna virtuosa, cede alla fine e non solo sottostà, ma partecipa attivamente all’intrigo ai danni di messer Nicia.
Mi sento qui in dovere di fare una piccola digressione per i lettori oltraggiati che hanno visto in questa commedia un trattamento orribile e degradante della donna in questione da parte della combriccola di Callimaco e hanno gridato al sacrilegio. Signori miei, il contesto storico è importante: come è possibile in parte scusare Kipling per la sua costante apologia del colonialismo inglese, suppongo che si possa scusate uno scrittore Rinascimentale per una certa condotta non proprio politically correct nei confronti del gentil sesso. Tanto più se risulta che, è vero, il personaggio di Lucrezia non appare in luce affatto positiva, ma che dire del prete che accetta dietro lauto pagamento di far abortire di nascosto una giovane donna E poi di ordire una trama che sfocerà irrimediabilmente in adulterio, oppure del marito stesso di Lucrezia, che prontamente accorda la sua complicità in un omicidio?
Tutte le bassezze della mente e dell’animo umano vengono qui rappresentate dalla sapiente penna di Machiavelli, che si dimostra non solo capace di utilizzare un lessico denso, uno stile “tutto cose” (per citare Benedetto Croce), ma anche di giocare sui punti deboli della società a cui apparteneva, senza ipocrisie o sentimentalismi, ma riprendendo quell’antico proverbio Romano che già era comparso in Plauto più di mille e cinquecento anni prima “Homo homini lupus”.
Il tutto, mantenendo la sagacia e la prontezza di spirito propria della sua penna, conferendo a questa commedia (pietra miliare della letteratura rinascimentale italiana), la possibilità di essere apprezzata, con mente critica ma anche con ilarità, anche e soprattutto dalle generazioni moderne.
May 11, 2025
Dall’autore de “Il Principe” mi aspettavo qualcosa di decisamente diverso, ma è sorprendente scoprire quanto Machiavelli sia uno scrittore poliedrico e versatile. In questa commedia dai rimandi classici — ispirata alla tradizione della commedia del servo e dell’inganno di Plauto e Terenzio — Machiavelli ci presenta una società fiorentina che prende amabilmente in giro, denunciando la falsità e la stupidità presenti anche tra i ceti più abbienti.
Una versione più sbarazzina di Machiavelli, che però, anche questa volta, si dimostra un osservatore arguto e acuto, capace di cogliere, in poche battute, sia il gretto che il bello degli uomini.
Una versione più sbarazzina di Machiavelli, che però, anche questa volta, si dimostra un osservatore arguto e acuto, capace di cogliere, in poche battute, sia il gretto che il bello degli uomini.
June 24, 2017
"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.
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.
July 12, 2021
مؤلف المسرحية هو السياسي الإيطالي الشهير ذائع الصيت الكبير، نيكولا مكيافيلي، صاحب مقولة "الغاية تبرر الوسيلة" وايضًا صاحب كتاب "الأمير" و "المطارحات" هو كذلك اديب ومسرحي كبير وله عدة اعمال في هذا المجال. ولو ان السياسة ترافقه دائمًا ولا تنفك عنه، حتى في اعماله الأدبية. في هذي المسرحية، يتحدث مكيافيلي عن فترة حساسة في تاريخ الشعب الإيطالي، فساد الكنيسة، تدهور الأوساط السياسة، البلد في دمار وشتات، حروب اهلية وتدخلات خارجية، فساد كافة الطبقات الأجتماعية، العمّالة، الخيانة، الفساد. في قالب ادبي في ليلة واحدة لرجل متنفذ يريد ان يتزوج امرأة رجل ثري، جميلة لكن عقيمة. وهذا الرجل من يحبها جدًا، يجعل نفسه طبيبًا بشكلًا كاذب، ومعه دواء لعقمها وهي نبتت الماندراغولا او كما توصف حشيشة الانجاب. المسرحية تعيّشك اجواء إيطاليا في العصور الوسطى، وتشم منها عبق تلك السنين ووجعها الأثير في بطون واحشاء من عاصروها، وكأنك بينهم ومنهم. اما من ناحية الحبكة والقصة فهي اقل من عادية، وكذلك شخصياتها. اعجبتني بعض الاقتباسات، وهناك من جهة اخرى، لمحات ذكورية من ذلك الزمان الغابر المقيت، لم احبها ولم تعجبني بطبيعة الحال. تستحق خمس نجوم لأنها عيشتني تلك الأجواء فقط. انصح بها من اراد ان يعيش الماضي.
بعض الاقتباسات:
"إرادة الإنسان هي التي تخطئ وليس جسده."
"إن صحبة الأشرار تقودُ إلى المشنقة، كما أن الرجل قد يقع في شراك الشرّ وهو ليس شرّيرًا، بل لمجرّد أنّه شديد الطيبة وسهل الإنقياد."
"النساء هنّ أشدّ ميلًا إلى فعل الخيرات، لكنهن الأشد إزعاجًا أيضًا. من يعمل على إبعادهنّ فإنه يخسر الإزعاج والربح، ومن يقرّبهن يكسب الربح والإزعاج معًا. والحق انه لا تفاح بدون ذباب."
"إنه ما من أمر يبعث على القنوط إلّا وفيه ما يبعث على الأمل، وإذا كان هذا الأمل ضعيفًا وبِلا جدوى، فإن إرادة الإنسان، ورغبته بأن يحقّق أمله، سيجعل الأمر على غير هذا الشكل."
بعض الاقتباسات:
"إرادة الإنسان هي التي تخطئ وليس جسده."
"إن صحبة الأشرار تقودُ إلى المشنقة، كما أن الرجل قد يقع في شراك الشرّ وهو ليس شرّيرًا، بل لمجرّد أنّه شديد الطيبة وسهل الإنقياد."
"النساء هنّ أشدّ ميلًا إلى فعل الخيرات، لكنهن الأشد إزعاجًا أيضًا. من يعمل على إبعادهنّ فإنه يخسر الإزعاج والربح، ومن يقرّبهن يكسب الربح والإزعاج معًا. والحق انه لا تفاح بدون ذباب."
"إنه ما من أمر يبعث على القنوط إلّا وفيه ما يبعث على الأمل، وإذا كان هذا الأمل ضعيفًا وبِلا جدوى، فإن إرادة الإنسان، ورغبته بأن يحقّق أمله، سيجعل الأمر على غير هذا الشكل."
December 18, 2018
چه متاع بکریه برای تفسیرهای نمادین و امروزی. وکیلِ احمق و زنش جون میدن برای اینکه «ایران» باشن یا یه کشور بدبخت دیگه. کالیماکو هم جون میده برای حاکمِ ظالم/نظام سرمایهداری. کشیشِ طماع و فاسد هم که داره. همه چی حی و حاضره. یا حتی به این فکر کردم که اون فیلم ننرِ مهرجویی، لیلا، همونی که مصفا و زنش بچهدار نمیشدن، یه چنین چیزی روش این تیرگیها و نیرنگهایی که ماکیاولی ازشون توی ماندراگولا حرف میزنه سوار بشن و چه محصول خوبی میشه.
November 23, 2023
È un libro scorrevole e intrigante, caratterizzato da eventi inaspettati che mostrano l’ingegno dei personaggi e la spontaneità delle loro azioni.
L’utilizzo alternato di dialoghi e soliloqui permette di analizzare meglio la natura dei personaggi, il loro modo di pensare e la capacità di relazionarsi con gli altri.
Tra i temi più evidenti sono presenti l’inganno e la corruzione che mostrano la visione pessimistica dell’uomo, egli pur di raggiungere il fine che si è posto utilizzerebbe qualsiasi mezzo,anche spregiudicato, senza preoccuparsi delle conseguenze. L’efficacia del piano escogitato sottolinea la capacità dell’uomo di manipolare,dissimulare ed ingannare senza essere smascherato.
Credo sia quindi una lettura consigliabile a chiunque piaccia leggere libri che analizzano i tratti della natura umana e che hanno un finale poco prevedibile ma efficace.
L’utilizzo alternato di dialoghi e soliloqui permette di analizzare meglio la natura dei personaggi, il loro modo di pensare e la capacità di relazionarsi con gli altri.
Tra i temi più evidenti sono presenti l’inganno e la corruzione che mostrano la visione pessimistica dell’uomo, egli pur di raggiungere il fine che si è posto utilizzerebbe qualsiasi mezzo,anche spregiudicato, senza preoccuparsi delle conseguenze. L’efficacia del piano escogitato sottolinea la capacità dell’uomo di manipolare,dissimulare ed ingannare senza essere smascherato.
Credo sia quindi una lettura consigliabile a chiunque piaccia leggere libri che analizzano i tratti della natura umana e che hanno un finale poco prevedibile ma efficace.
Read
October 23, 2025what the helllllllllllll
February 3, 2019
المسرحية كوميدية و بسيطة و قصيرة جداً ملخصها رجل يعشق إمرأة متزوجة من رجل غبي فيوقع فيها و في الغبي عبر خدعة يشترك بها راهب يحب المال و وصولي يريد الطعام و أم الزوجة التي تريد لإبنتها المال و الاستقرار حتى لو كان الامر على حساب الشرف ! تذكرت المسرحية لانها تتحدث عن الغاية و تبرير الوسيلة ولان فيها رجل دين منافق كحال رجال الدين هذا اليوم و الاكثر من هذا أن الزوجة حين تعي معطيات الخدعة تقبل بها و تشرع بخيانة زوجها على نحو مستمر ! معللة ذلك بقولها ( 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 ) كحال كل من تسول له نفسه القتل او الكذب او السرقة او الخداع و يدعي أن الله دفعه لذلك دفعاً ... فعلاً كل شي قضاء و قدر ! , انصح بقراءة العمل , و سوف تتعجب كيف لعمل من القرن السادس عشر القدرة على اضحكاكك وامتاعك , تقيم العمل 5/5
مقتطفات من مسرحية الماندراغولا للكاتب نيكولا ميكافيلي
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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
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فلا شك أن زماننا اليوم قد أفسد قيم الأمس القديمة ويتحتم الآن على الناس ممن يكثرون اللوم أن يلتزموا حتى التشنج
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لأن الحياة قصيرة
والأحزان كثيرة
يتحملها الجميع وهم يعيشون ويكافحون.
نجري خلف رغباتنا
ونحن نستهلك السنين.
لكن من يلقي جانباً أهواءه
ليعيش مع الأحزان والمتاعب
لا يعرف حيل الدنيا، أو الشرور
والأحوال الغريبة،
التي تخدع كل الأحياء.
كيما نتهرب من هذا العذاب
قررنا أن نعيش بعيداً عن أحزان العالم ومضايقات الحياة،
لنكون على الدوام في أعياد ومسرات
شباباً رشيقين وحوريات سعيدات.
وقد جئنا الآن
بهذه الموسيقى
لنُكرم هذا
الحفل 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 يعرفها
غيره وأن لا يفصح عنها إلا مكرهاً. أما الآن إذ أظن أني بحاجة
إلى عونٍ منك فإني سأفصح لك عن كل أمر
------------
إنه ما من أمرٍ يبعث على القنوط إلا وفيه ما يبعث على
الأمل، وإذا كان هذا الأمل ضعيفاً وبلا جدوى فإن إرادة الإنسان
ورغبته بأن يحققه سيجعله يبدو غير ذلك
-------------
كم هو سعيد من يولد جاهلاً أحمق
لا يهمه طموح
لا يخاف أمراً ولا يخشى.
قولوا باللاتينية لذلك الدكتور
الذي يثير الملل معاً والألم
أن حماراً يطير،
فسيصدق من شدة شوقه للولد
سينسى كل أمرٍ آخر
لأنه لا يريد إلا الولد.
---------------
عشت الزمن بقلق ومازلت في
أرق. 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، وكلما زاد رجائي تنامت
مخاوفي. يا لشقائي! هل يقيد لي أن أبقى هكذا في ظل متاعب
متواصلة، تعذبني المخاوف ويدغدغني الرجاء؟ إني لست إلا
سفينة تتنازعها رياح متناحرة قد يتحقق أشد ما تخشاه عندما
تقترب من الميناء.
-----------------
ألا تعلم كم هو
قليلٌ الخير الذي يجده الإنسان في الأمور التي يرجوها قياساً بما
كان يتوقعه؟
----------------
قال حقاً من قال إنصحب َ ة الأشرارِ تقود إلى المشنقة. كما أن
الرجل يق ع في الشر وهو ليس شريراً، بل لأنه شديد الطيبة
وسهل القياد. ويعلم الله أني لم أحاول الإساءة لإنسان بل كنت
دائماً في الدير أتلو صلواتي وأقوم بفرائضي حين جاءني هذا
الشيطان ليغوريو فجعلني أغمس إصبعي في أمرٍ خاطئ ثم
اتبعتُ إصبعي بذراعي بل بكلِّ شخصي، ولا أعرف ما الذي
سيحدث لي بعد هذا. لكني أسّلي قلبي بالظن أن الأمر الذي يهم
كثيرين يجب أن يعالجه كثيرون
------------
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 قصيرة
والأحزان كثيرة
يتحملها الجميع وهم يعيشون ويكافحون.
نجري خلف رغباتنا
ونحن نستهلك السنين.
لكن من يلقي جانباً أهواءه
ليعيش مع الأحزان والمتاعب
لا يعرف حيل الدنيا، أو الشرور
والأحوال الغريبة،
التي تخدع كل الأحياء.
كيما نتهرب من هذا العذاب
قررنا أن نعيش بعيداً عن أحزان العالم ومضايقات الحياة،
لنكون على الدوام في أعياد ومسرات
شباباً رشيقين وحوريات سعيدات.
وقد جئنا الآن
بهذه الموسيقى
لنُكرم هذا
الحفل 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 يعرفها
غيره وأن لا يفصح عنها إلا مكرهاً. أما الآن إذ أظن أني بحاجة
إلى عونٍ منك فإني سأفصح لك عن كل أمر
------------
إنه ما من أمرٍ يبعث على القنوط إلا وفيه ما يبعث على
الأمل، وإذا كان هذا الأمل ضعيفاً وبلا جدوى فإن إرادة الإنسان
ورغبته بأن يحققه سيجعله يبدو غير ذلك
-------------
كم هو سعيد من يولد جاهلاً أحمق
لا يهمه طموح
لا يخاف أمراً ولا يخشى.
قولوا باللاتينية لذلك الدكتور
الذي يثير الملل معاً والألم
أن حماراً يطير،
فسيصدق من شدة شوقه للولد
سينسى كل أمرٍ آخر
لأنه لا يريد إلا الولد.
---------------
عشت الزمن بقلق ومازلت في
أرق. 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، وكلما زاد رجائي تنامت
مخاوفي. يا لشقائي! هل يقيد لي أن أبقى هكذا في ظل متاعب
متواصلة، تعذبني المخاوف ويدغدغني الرجاء؟ إني لست إلا
سفينة تتنازعها رياح متناحرة قد يتحقق أشد ما تخشاه عندما
تقترب من الميناء.
-----------------
ألا تعلم كم هو
قليلٌ الخير الذي يجده الإنسان في الأمور التي يرجوها قياساً بما
كان يتوقعه؟
----------------
قال حقاً من قال إنصحب َ ة الأشرارِ تقود إلى المشنقة. كما أن
الرجل يق ع في الشر وهو ليس شريراً، بل لأنه شديد الطيبة
وسهل القياد. ويعلم الله أني لم أحاول الإساءة لإنسان بل كنت
دائماً في الدير أتلو صلواتي وأقوم بفرائضي حين جاءني هذا
الشيطان ليغوريو فجعلني أغمس إصبعي في أمرٍ خاطئ ثم
اتبعتُ إصبعي بذراعي بل بكلِّ شخصي، ولا أعرف ما الذي
سيحدث لي بعد هذا. لكني أسّلي قلبي بالظن أن الأمر الذي يهم
كثيرين يجب أن يعالجه كثيرون
------------
December 25, 2015
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.
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.
November 23, 2023
La Mandragola è una commedia che affronta temi profondi attraverso una scrittura acuta e ironica.
È notevole come, attraverso il sarcarsmo, l'autore espone una critica diretta ai costumi della società fiorentina del tempo.
Sicuramente si tratta di una lettura piacevole e soprattutto, tramite le carettiristiche interessanti e varie dei suoi personaggi, intrigante.
Un’opera coinvolgente e originale nella sua imprevedibilità e capacità di sorprende.
Nonostante non sia un genere che sceglierei tipicamente, lo consiglierei a chi ama letture leggere e comiche.
È notevole come, attraverso il sarcarsmo, l'autore espone una critica diretta ai costumi della società fiorentina del tempo.
Sicuramente si tratta di una lettura piacevole e soprattutto, tramite le carettiristiche interessanti e varie dei suoi personaggi, intrigante.
Un’opera coinvolgente e originale nella sua imprevedibilità e capacità di sorprende.
Nonostante non sia un genere che sceglierei tipicamente, lo consiglierei a chi ama letture leggere e comiche.
Read
November 27, 2020"أسلي قلبي بالظن أن الأمر الذي يهم الكثيرين، يجب أن يعالجه كثيرون".
والكثير من عبارات مكيافيلّي المبررة للتواطؤ الإنساني ولنقصانه الأخلاقي؛ الكثير من عبارات "الغاية تبرر الوسيلة".
تصور هذه المسرحية الفساد الأخلاقي المجتمعي، الديني والأسري مقابل المصالح الذاتية وتعتبر تأويل مسرحي لمبدأ مكيافيلي في كتابه الأمير والحياة عموما علاوة على أن هنا الغاية والوسيلة سيئتين على حد سواء.
- الترجمة مفهومة وواضحة.
والكثير من عبارات مكيافيلّي المبررة للتواطؤ الإنساني ولنقصانه الأخلاقي؛ الكثير من عبارات "الغاية تبرر الوسيلة".
تصور هذه المسرحية الفساد الأخلاقي المجتمعي، الديني والأسري مقابل المصالح الذاتية وتعتبر تأويل مسرحي لمبدأ مكيافيلي في كتابه الأمير والحياة عموما علاوة على أن هنا الغاية والوسيلة سيئتين على حد سواء.
- الترجمة مفهومة وواضحة.
May 15, 2025
Rip Callimaco king dei malesseri depressi. Avresti adorato gli Smiths
March 30, 2012
Like another comment I also found the modern reading of this play to be that of an extended rape plot and work of societal rape apology. This is not surprising considering the parallels Machiavelli uses in the story to the 'myth' of the rape of Lucretia and the founding of Rome. In the myth, Lucretia is forced into being raped and in reward gains the title of empress. Obviously this is Machiavelli's way of making a political remark about the state of Florentine government and corruption at the time.
This work parallels prior works of Hroswitha who also uses the medieval idea of sin of the body, not of the mind as a way to detach ideas of purity from those of Christian faith. This made for great material for an academic paper, but I personally detested the idea and this particular play.
This work parallels prior works of Hroswitha who also uses the medieval idea of sin of the body, not of the mind as a way to detach ideas of purity from those of Christian faith. This made for great material for an academic paper, but I personally detested the idea and this particular play.
October 12, 2014
COMEDIA MAQUIAVÉLICA
Notable 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.
Notable 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.
January 30, 2013
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!
March 19, 2020
ماکیاولی به خوبی کثافتکاری و گندکاری آدمها در هر لباسی را نشان داد.
November 23, 2023
Ho trovato quest’opera di Machiavelli molto interessante e piacevole da leggere. Il modo in cui è scritta, in gran parte sotto forma di dialogo, rende la lettura scorrevole e intrigante, favorendo la comprensione della natura di ognuno dei personaggi.
Grazie alla attenta analisi dell’autore dei vari protagonisti della vicenda ho trovato semplice durante la lettura capire le loro caratteristiche, comprendere le loro emozioni e i loro interessi e individuare in ognuno di loro alcuni elementi della società, come ad esempio la corruzione.
La semplicità e l’ironia con cui Machiavelli analizza alcuni temi molto importanti fa si che tali temi arrivino al lettore chiari e diretti, senza lasciare niente di sottinteso o di complicato. Allo stesso tempo trovo però che il semplice leggere questo testo scritto vada in un certo senso a snaturare quella che è un’opera destinata al teatro, che, a mio parere, venendo recitata può esprimere in modo migliore tematiche come quella dell’inganno, dell’ironia e dell’amore. Ad esempio la presenza della musica durante alcune scene dell'opera credo che riesca ad ampliare le emozioni trasmesse, che solamente leggendo il testo in gran parte vengono a mancare.
In conclusione ho trovato molto piacevole la lettura dell’opera ma credo che per essere compresa e apprezzata al massimo vada integrata con la visione del relativo spettacolo teatrale.
Grazie alla attenta analisi dell’autore dei vari protagonisti della vicenda ho trovato semplice durante la lettura capire le loro caratteristiche, comprendere le loro emozioni e i loro interessi e individuare in ognuno di loro alcuni elementi della società, come ad esempio la corruzione.
La semplicità e l’ironia con cui Machiavelli analizza alcuni temi molto importanti fa si che tali temi arrivino al lettore chiari e diretti, senza lasciare niente di sottinteso o di complicato. Allo stesso tempo trovo però che il semplice leggere questo testo scritto vada in un certo senso a snaturare quella che è un’opera destinata al teatro, che, a mio parere, venendo recitata può esprimere in modo migliore tematiche come quella dell’inganno, dell’ironia e dell’amore. Ad esempio la presenza della musica durante alcune scene dell'opera credo che riesca ad ampliare le emozioni trasmesse, che solamente leggendo il testo in gran parte vengono a mancare.
In conclusione ho trovato molto piacevole la lettura dell’opera ma credo che per essere compresa e apprezzata al massimo vada integrata con la visione del relativo spettacolo teatrale.
November 24, 2023
Machiavelli dimostra la sua maestria nella commedia con 'La Mandragola', un'opera intrisa di astuzia e inganno. Attraverso uno stile linguistico vivace e arguto, Machiavelli dipinge un quadro satirico della società rinascimentale, evidenziando le debolezze umane. La trama si snoda attorno a una serie di manipolazioni orchestrare da Ligurio, che aiuta l'amico Callimaco a conquistare Lucrezia, moglie di Nicia. L'autore gioca abilmente con il linguaggio, utilizzando il dialogo per sottolineare la corruzione morale dei personaggi. In definitiva, 'La Mandragola' si rivela un capolavoro letterario che mescola umorismo e critica sociale, riflettendo la genialità di Machiavelli nel ritrarre la natura umana. Personalmente, ho apprezzato la maestria con cui l'autore ha intrecciato la trama, offrendo una prospettiva affascinante sui desideri dell'uomo e sulla società del suo tempo. Non ho apprezzato invece la forma dialogica, essendo in questo caso più adatta una narrazione continua. Forse però lo stesso uso del dialogo ha garantito la diffusione di questo testo, rendendolo più scorrevole e piacevole alla lettura. I temi trattati e il linguaggio utilizzato sono ancora molto attuali e ciò contribuisce a rendere la Mandragola un'opera senza fine.
November 24, 2023
“La Mandragola” di Niccolò Machiavelli si presenta come un affascinante viaggio nel passato di Firenze. Mi ha catturata con la sua trama intricata di amori proibiti e intrighi politici. Callimaco, un giovane innamorato, con l’aiuto dei suoi complici quali Ligurio e il frate Timoteo mette in atto un piano complicato rendendo la storia vivace attraverso situazioni comiche ma che allo stesso tempo criticano la cattiva condotta nella società dell’epoca. Machiavelli usa l’umorismo per far riflettere sulle questioni morali e politiche rendendo l’opera interessante e piena di significato. L’uso di espressioni colloquiali contribuiscono a dare vita ai personaggi e alle situazioni. Alcuni giochi di parole e doppi sensi potrebbero essere difficili da cogliere senza una conoscenza approfondita del contesto storico e culturale dell’epoca. Tuttavia, anche se la lingua può sembrare un po’ distante dalla nostra, contribuisce a immergere il lettore nell’atmosfera complessa dell’opera.
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