#machiavelli

If you'd like an essay-formatted version of this post to read or share, here's a link to it on pluralistic.net, my surveillance-free, ad-free, tracker-free blog:

https://pluralistic.net/2026/04/25/machiavellian/#brackets-good

Ada Palmer may just be the most bewilderingly talented person I know: a genius sf writer, incredible librettist and singer, wildly innovative educator, and a leading historian of the Renaissance, and last year, she published her magnum opus, Inventing the Renaissance, a stunning book about so much more than history:

https://press.uchicago.edu/ucp/books/book/chicago/I/bo246135916.html

All of my friends seem to be writing their magnum opuses these days! When (modern) historian Rick Perlstein and I did an event last year for my Enshittification tour, he told me he'd just finished his 1,000 page (ish? I may be misremembering slightly) history of the American conservative movement. And I recently had dinner with China Mieville, who told me he'd just turned in the manuscript for a novel he'd been trying to figure out how to write all his life.

I can't wait to read these books! And I couldn't wait to read Inventing the Renaissance, and I would have been much quicker off the mark but for the exigencies of book tours and books due and so on – but I've been reading it for the past two months or so, and I think I've pitched it about a hundred times to strangers and friends as I savored it, because it's just that good.

Inventing the Renaissance isn't a work of history, it's a work of "historiography" – the study of how histories get written and rewritten. Palmer's point here isn't to make us merely understand the Renaissance – she wants us to understand how the idea of a Renaissance, a rebirth out of a "dark age" into a "golden age" – has been used, abused, created and demolished, for centuries and centuries, including during the centuries when the Renaissance was actually underway.

Palmer teaches Renaissance history at the University of Chicago, where she is legendary for a unique annual pedagogical exercise in which she leads her students through a weeks-long live-action role-playing game that re-enacts the election of the Medicis' Pope. Every student is given a detailed biography of their character's position, goals, proclivities and history, and for weeks, the students scheme, ally, betray and assassinate each other. At the climax, the students take over the university's faux-Gothic cathedral, dressed in Renaissance drag (Palmer has a Google alert for theater companies that are selling off their costumes, and her tiny office at the university overflows with racks of cardinals' robes and other period garb), and they invest a Pope:

https://pluralistic.net/2021/10/17/against-the-great-forces-of-history/

This exercise is nothing short of genius, and the students who experience it often report that it is life-changing. That's because the final candidates are never quite the same, nor are the cardinals who cast votes for the winner. And yet, there are certain bedrocks that never shift, including the fact that Italy is always invaded by some of the factions involved in the election, though which cities burn also changes.

The point of this exercise is to expose the students to the power and limits of both "great historical forces" and the human agency that every one of us has within the envelope defined by those forces. Palmer wants her students to get a bone-deep understanding that while every moment has great forces bearing down on it, that the people of each moment have an enormous amount of leeway to channel the floodwaters that history will unleash. From the servant who bears a message from one great power to another, up to those great powers themselves, each person guides the course of history, even if they can't halt some of its outcomes.

Though Palmer unpacks this exercise and its meaning and results in the final part of her magnum opus, this message about forces and people is really the key to her historiography. She develops these themes in the most charming, accessible manner imaginable, weaving her own journey into history with her accounts of how different eras consciously created and deployed the idea of "the Renaissance" and how these ideas were bolstered, undermined, or ultimately demolished by new evidence. You could not ask for a better account of why there is not, and can never be, a single, canonical "history" of an era or a moment. There will always be multiple histories, overlapping each other, warring with one another, supplanting each other, or being revived as "lost" histories that reveal a truth that "they" have buried.

Whether it be better to be loved than feared or feared than loved? It may be answered that one should wish to be both, but, because it is difficult to unite them in one person, it is much safer to be feared than loved, when, of the two, either must be dispensed with.

Later in the very same chapter, he says an even more important thing:

Nevertheless a prince ought to inspire fear in such a way that, if he does not win love, he avoids hatred; because he can endure very well being feared whilst he is not hated.

Machiavelli's point was that, in a choice between being feared and being loved, ideally you want both, but if you can only have one, fear is more effective. But if you choose to rule this way, you have to be very careful that however much people fear you, they never start to hate you.

The dragon that sits in its cave and kills you if you dare enter, but that never comes down from the mountain to burn your crops or snatch your livestock? Feared, not loved, but not hated.

Machiavelli and his muses

Livy / Niccolò Machiavelli / Cesare Borgia

Remus / Romulus

Dante Alighieri / Virgil

Hannibal Barca / Scipio Africanus

Marcus Junius Brutus / Cicero / Lucius Junius Brutus

Augustus and Julius Caesar

“Puttanaccia, miccia, porca, spacciata” letter to Luigi Guicciardini, November 1509

“Magnifice vir, maior observandissime, io ero in sul cesso quando arrivò il vostro messo” letter to Francesco Guicciardini, 17 May 1521

“Il culo mi fa lappe lappe” letter to Francesco Guicciardini, 19 May 1521