Machiavellian Theater and Religion: An analysis of the plays of Machiavelli and the religiousness of his time
This paper analyzes the work of the "playwright" Niccolò Machiavelli. The thinker composes a trio of comedies that begin around 1517, with a version of Andria by Terence, and finishes in 1524 with Clizia. Written in between, La Mandragola places him in the roll of the great authors of the Italian th...
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| Tipo de documento: | Artículo |
| Estado: | Published version |
| Fecha de publicación: | 2017 |
| País: | Brasil |
| Institución: | UFMG |
| Repositorio: | Temporalidades |
| Lenguaje: | Portugués |
| OAI Identifier: | oai:periodicos.ufmg.br:article/5748 |
| Acceso en línea: | https://periodicos.ufmg.br/index.php/temporalidades/article/view/5748 |
| Nivel de acceso: | Acceso abierto |
| Palabra clave: | Machiavelli Theater Religion Maquiavel Teatro Religião |
| Sumario: | This paper analyzes the work of the "playwright" Niccolò Machiavelli. The thinker composes a trio of comedies that begin around 1517, with a version of Andria by Terence, and finishes in 1524 with Clizia. Written in between, La Mandragola places him in the roll of the great authors of the Italian theater of Renaissance. Afterwards, the paper seeks to highlight aspects in these works, which are related to the theme of religion. All the excerpts which make any kind of direct or indirect mention to religion or religiosity are selected, and then an analysis is made pointing to three main directions: a first, which would be that of the daily Christian religion of Italy and which we call “everyday God” or “everyday divinity”; a second, which points to Machiavelli's sympathy for the religion of the Romans and for the "fortuitous" reality imposed by Fortune rather than the "always-right" tracks of Divine Providence; and, third and last, we seek to give attention to the criticisms of the Roman Church present in the plays, whether direct or indirect. |
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