Heinlen's It's Great to be Back

Upon having read Heinlein’s “It’s Great To Be Back” I originally was unsure what I would or could expect from this story.  I discovered myself to be pleasantly surprised, as the intro gave way to a bit of foreshadowing with its ominous depiction of Mr. and Mrs. Mac Rae’s homecoming. 

This also becomes a story of many layers, not only depicting regret and human nature when it comes wanting what you no longer have, but it also shows a form of segregation and though it may not be racist in the normal sense it does give visual and verbal clues of how the Mac Raes have to deal with the stigma of being “Lunatics” or “Looneys” as some of those around them describe the colonist who live within the moon. 

The concept of the “Golden Age” for theme shows up not only through the various progressions and technology used throughout the story, from the Lunar City and its modern technologies, to the express shuttle as used to get back to earth.  Once on Earth you discover terms such as “slide-walks” and “hover-cabs,” along with automatic delivery of food to their hotel suite. 

Once they remove them-selves to the farm things change and they are living a more survivalist retro lifestyle, without a lot of the advancements they were used to having right on hand.  Unfortunately along with this they come across the stigma and aggression from the local townsfolk, whom instead of welcoming the Mac Raes to their community, view them as intruders who have no right to take or benefit from the town itself, whether that be groceries or a simple hair cut at the barber shop. 

It is through this journey, which began with a need to return “home,” and home being Earth, from whence they originated, they actually discovered “home” was no longer where they fancied, but rather what they gave up.  Filled with longing and regret, having come full circle the Mac Raes work rapidly and with determination in order to return once more to Lunar City, the feeling of homesickness leaving as anticipation envelopes them. 

The Group

Have you ever picked up a novel and just felt in synch with the very energy and environment that surrounds the story itself?  As I delved deeper and deeper into the characters’ lives and personalities of Mary McCarthy’s “The Group” I found myself not only laughing as I could understand many of these coming of age ideas these women were going through, but also, as it transpired, found a comparison between McCarthy’s period novel and the HBO comedy series, based upon similar themes, “Sex and The City,” produced by Darren Star and also taking place within the same central geographical area, New York City and its surrounding areas.

McCarthy, a best-selling writer, whom also graduated from Vassar herself, was coming of age during a period of time when women were suddenly finding themselves at a precipice.  New technologies would bring to light the telephone, motion pictures, house-hold appliances and even women’s clothing such as brassieres, changing how people, especially those of the younger generations, communicated and looked at the world and their individuality as a whole. 

McCarthy, not only gives us a candid view of the way of life between two world wars and the aftermath of the Depression, but she also allows, through satire, irony, and even sexual connotations to give those of us in today’s modern age a pigeon’s eye view of what the female sex was going through.  She hands us themes of which included sexual identity, political and intellectual identity, physical and emotional abuse, and the relationship factor. From the first pages to the last McCarthy helps to provide the backdrop to her characters by showing both weakness and strength in her characters as they grow and evolve in this ever changing environment.  She also gives us a glimpse of what it is like for these women, coming together from various, though not extremely different, and backgrounds within Vassar College, considered one of the Seven Sisters to the Ivy League schools.  

As we get to know each woman while the story unfolds, we are introduced to them at Kay’s marriage and begin to have a sense of foreshadowing as to what to expect from them and the situation:

A.    Uncomfortable with the situation Kay has found herself within, but as she is one of “The Group” they feel obligated to stand and show her moral support. 

B.     Each of the women has differing views, ranging from guilt to elitist and even anger towards the idea of this marriage. 

The Group, though brought together through commonalities, show their individual personalities in the unfolding tale of friendship:

1.      Dottie is uncomfortable but entranced by the idea of Harald’s newly divorced friend, whom she will eventually have a sexual affair with.  Though as the years fade over time, she never quite gets over Dick Brown, which she acknowledges to her mother as they discuss him vs. her upcoming marriage.  “Because I slept with Dick doesn’t mean I should change my whole life.  He feels the same way himself.  You can fit things into their compartments.  He initiated me, and I’ll always be grateful to him for making it so wonderful.  But if I saw him again, it might not be so wonderful. I’d get involved… It’s better to keep it as a memory.  Besides, he doesn’t want my love.  That’s what I was thinking about when you were in the bathroom.  I can’t throw myself at him.”(The Group, pg. 228)

2.      Polly Andrews, agitated and shy holds her thoughts to herself, though she feels the need to be loyal to Kay as she is one of The Group.  Polly, in the end, shows true friendship to Kay, when Harald convicts her to the psychiatric hospital after physically beating her.  Of all the women within The Group, it is Polly who maintains that friendship and loyalty to Kay, along with her husband Jim. “The woman in the bed was Kay.  She had a huge black eye and contusions on her bare arms.  At the sight of Polly in her starched white coat, she burst into copious tears.  She was comparing their positions, Polly realized with sympathy, trying to remember whether she had ever seen Kay cry before.  Rather than ask questions, which might have upset Kay more, Polly got a washcloth and bathed her swollen face.” (The Group, pg. 396)

3.      Elinor aka Lakey, is angry over Kay’s marriage.  You get a sense she feels betrayed by the situation and by Kay, though it does not come clear until the end of the novel at Kay’s funeral the depth of that anger and it’s reasons; at which time she uses deception and irony to gain vengeance upon Harald, a bi-sexual himself, and the male sex in general for stealing one of “hers.”

Harald finished his whiskey. “Were you in love with Kay?”  Lakey cupped her chin in her hand. “She was lovely in her sophomore year.  You hadn’t met her then. On the Daisy Chain.  Like a wild flower herself.  It’s a kind of country beauty I’m particularly fond of.” (The Group, pg. 484)

4.      Libby the local writer and storyteller does not have a fondness for Harald, though she keeps her eyes keen and her wit sharp in her ability to tell and formulate stories that will entrance others, gathering up bits and pieces of gossip about those within her own circle of friends and associates. “Harald had never been a special favorite of Libby’s.  They said he was constantly sleeping with other women, and that kay either did not know about it or did not mind, she was still so dominated by him intellectually.”(The Group, pg. 273)

5.      Pokey, the social elitist, looks upon the entire situation with disdain and boredom.  She would never have attended if the others within the group had not dragged her, considering the whole scenario a mockery and beneath her social identity. Everything in Pokey’s life is based upon her family’s wealth.

6.      Helena, Kay’s former roommate and friend before Lakey came into their lives feels a sense of obligation and loyalty to Kay.

7.      Priss, shy and with a stutter does not speak unless she has something to add, but takes in everything around her.

8.      Norine, vindictive and wanting what others have, including Harald, simply to prove she is capable of taking it.  In truth, it is to Norine Harald often runs when he needs advice, and it is Norine who convinces Harald to have Kay committed to the Payne Whitney Clinic, a private mental hospital, lying to Kay by telling her she will be able to rest and get some respite from Harald.  “Norine said that I ought to go to a hospital for a few days to get a complete rest; I couldn’t rest so long as Harald and I were cooped up in this two-room apartment.”

One of the things each of these women feared was to become replicas of their parents.  “The worst fate they all agreed would be to become like Mother and Dad, stuffy and frightened.” (The Group, 12)

Kay had rebelled, the first to do so, leaving the rest of the group both in awe of her but also unsure how to react, determined to leave behind her mid-western heritage and become a modern woman.  Each wished to step outside the comfort zone they had known all their lives; and yet there was safety to be found within its grasp, locking each one within traditions that Kay flagrantly flaunted; she was the first to lose her virginity, to smoke, to get married, and to wear pants, even going so far as to take on the habits of those in the theater lifestyle by calling her friends by their last names. 

As originally stated this was very reminiscent of the comedy series “Sex and the City,” in which again we are introduced to a group of women, and through similar uses of sexuality, individuality, and satirical humor the audience is pulled within their lives as they grow and evolve, traipsing the trials and tribulations of careers, relationships, sexual identity, and even fashion and politics.  McCarthy, though having introduced “The Group” many years before, understood the struggles of the female in a male dominated society, to come into her own and not lose her own identity.  This is the weaving of the web within this novel, how these women come full circle with Kay once more the fragile piece pulling them all together, as much as she pushed them apart.  In the end, there is no solution to Kay’s death.  It does not fit in a neat box with answers, nor does it leave these women unaffected.  Their lives go on and with it so does The Group.

References:

McCarthy, Mary. The Group. New York: Harcourt, Brace & World, 1963. Print.

Starr, Darren. "HBO: Sex and the City: Homepage." HBO. HBO. Web. 19 Feb. 2016. .

Bellafante, Ginia. "A Live Conversation About 'The Group' by Mary McCarthy." City Room A Live Conversation About The Group by Mary McCarthy Comments. NY Times, 26 Feb. 2013. Web. 19 Feb. 2016. .

"Vassar Info." About Vassar. Web. 19 Feb. 2016. .

The Study of the Humanities

The study of the humanities, or “studia humanitatis” in the classical Latin format, helped to bring about the intellectual movement during the late 14^th century.  Unlike other movements during the Renaissance and Reformation periods, humanism did not conform to systematic logic and thought process.  Instead this movement, through newly reformatted education and scholarship endeavors, promoted growth of the mind and intellect through various liberal pursuits.  As noted by Wilcox “humanist eventually found themselves involved in politics, literature, law and even philosophy and theology.” (Wilcox, Ch. 5, pg. 75) While looking into the historical impact and how it might be interpreted Wilcox presents us with three notable interpretations by distinguished men and students of the Renaissance humanism: Paul Oskar Kristeller, Eugenio Garin, and Hans Baron.

Paul Kristeller, (Born May 22, 1905 – Died June 7, 1999) a renowned historian and student of the Renaissance, was also a philosopher who sought to show how humanism and philosophy developed as two separate intellectual movements.  Through his studies and research, Kristeller published several noteworthy works:

The Philosophy of M. Ficino. New York, 1943.
The Classics and Renaissance Thought. Cambridge (Mass.), 1955.
Studies in Renaissance Thought and Letters. Rome, 1956.
Renaissance Thought, vols. 1–2. New York, 1961–65. (The Great Soviet Encyclopedia)

As Kristeller developed his platforms, he focused on the teachings and approaches to the two different movements, using technical approaches to analyze and interpret both.  He was able to define humanism and philosophy as individuals and yet not nearly so separate; unfortunately, his approach disallowed for the concept of emotional and personal equation towards humanism, leaving many seeking further definitions.

Eugenio Garin, (Born May 9^th, 1909 – Died Dec. 29^th, 2004) approached the concept of humanism through a different path, though also being a scholar, philosopher and student of the Renaissance.  Where Kristeller’s approach was more technically pragmatic, Garin had a more grounded, humane approach based upon two assumptions: “First, the ancients should be studied as men living in a certain historical time; second human knowledge proceeds less by abstract speculation than by communication of personal perspectives and points of view. “ (Wilcox, pg. 77)

Our last of the three scholars, Hans Baron (Born June 22, 1900 – Died Nov. 26, 1988) believed a crucial turn of events took place in Florence around 1400 that lead to a dramatic shift in intellectual and scholarly pursuits during this period.  It is due to this shift in education and scholarship the humanist movement came to be, and can be seen not only in the historical value of intellectually stimulating documents but also the arts.  By approach the movement from such a varied path than the other two, Baron was able to “identify so clearly the developing patterns of thought and values in this small period… This generation of humanists pursued classical studies with a new vigor and intensity; they were aware of the unique position of Florence in fostering the revival and were firmly convinced of the superiority of the active life.” (Wilcox, pg. 79.)

In having studied and taken the time to consider each of these men’s approaches, along with the question of which one I favor, I came to the conclusion that I favor none and all.  My reasoning for this is the concept that each historian / philosopher is noteworthy within his own, but at the same time they each lack something vital in order to be given an entire grounding in humanism.  Can one truly understand humanism simply by using nothing but practical, technical approaches?  Is it appropriate to look to the one who sees patterns and follows the intricate web of thoughts of the men of this time; or does one approach it more from an emotional, naturalistic point of view.  In the end I think it is more practical and fulfilling to try an equally balanced approached, taking something from all. 

References:

"Paul Oskar Kristeller." The Great Soviet Encyclopedia, 3rd Edition. 1970-1979. The Gale Group, Inc. 20 Feb. 2016 http://encyclopedia2.thefreedictionary.com/Paul+Oskar+Kristeller

Wilcox, Donald J. In Search of God & Self: Renaissance and Reformation Thought. Second ed. Long Grove: Waveland, 1987. Print.

Dante

"Dante stands with one foot firmly planted in the Middles Ages, and with the other he salutes the rising sun of the Renaissance." (Wilcox, pg. 44)

The issue with Dante is not that he is unable to appreciate and value the concepts of both the Middle Ages and the Renaissance, but that he is a man who is influenced greatly, on a personal level of which affects how he views the world.  The above quote, though apt in its description of Dante, is quite possibly backwards.  Dante is not a man who is lost to the Middle Ages, as some might suspect, but rather a man who turns once more to the teachings and values of the Middle Ages due to personal and public conflict.  As one looks upon his works one could, in fact, depict this sentence as being a bit backwards. 

Throughout The Divine Comedy one can see the influences of the burgeoning Renaissance as it flows through his words and how he pays tribute to various notable figures, from the Poet Princes, (whom by their description and approach within Dante’s work reminded me of the Four Horsemen) to characters from literature, mythology and history, and finally to acknowledging his own reality, both past and present.  It is within this work we see a man who is at odds, not only with his outside world, but also at conflict within his own soul, seeking knowledge and answers while attempting to understand the concept of love.

It is only when Dante becomes exiled from his beloved Florence do we see a dramatic change in Dante’s school of thought, turning back the sands of time from possible romanticism and ideals of the Renaissance to those of the Middle Ages, where one depends upon Monarchy and its government then one of an established democratic society where men have the free will to become united against a single cause.  After the disappointment of Pope Boniface’s interference, of which caused him to become the exile, never to lay eyes upon Florence again, he began to develop the essay “De Monarchia,” of which he argued “ the government has only one function: to maintain peace so that mankind can most fully develop itself.  The most unified form of government is monarchy and the best monarchy is a world monarchy.” (Wilcox, pg. 48)

Unfortunately, Dante’s views and ideals, though rich in concept, were still considered naïve and those of a poet/dreamer, who has been objectified and had what he valued, home and friends, ripped from him.  They were neither logical nor practical considering how actual government functions.  His work “Divine Comedy” still holds a grasp; especially as modern society finds itself in a similar predicament of knowing how to separate church and government.  Dante’s own question and search for answers are often found within the younger generations as they try to understand their own place within this ever changing world and society.

Reference:

Wilcox, Donald J. In Search of God & Self: Renaissance and Reformation Thought. Second ed. Long Grove: Waveland, 1987. Print.

Rennaisance Art

As one examines this masterpiece of Catholic Dogma, created by the artist Titan and to be found hanging in Basilica di Santa Maria Gloriosa dei Frari, Venice, one cannot help but take note not only of the vivid use of colors Titan was known to favor, but also the set-up of this piece of work…

Titan, whom is known for favoring bold colors, uses white and golden hues to show the transcendence and ethereal quality of this work, while allowing for the coloration to bring the majesty and royalty of the theme to life. 

Upon closer examination of this piece we can depict, not only a form of ethereal hierarchy but one that transcends to the governing political bodies, such as the Roman Catholic Church.  On the first level we have the Apostles, who can also be viewed as clergy if one is to depict this on a more mundane interpretation.  The next level we are given the Lady Mary, who emotes calm and acceptance of her fate.  She is surrounded here on this level by various angels and cherubs, giving forth another level in which we can see the bishops, cardinals and other heads of church as they surround the Pope.  Her eyes are shown cast heavenward towards God, who is surrounded by a few choice angels.  Finally we come to the final layer, the Holy Roman Emperor, crowned by god himself as the head of church and man. 

The mural, Annunciation, by Fri Angelico and completed in 1450 for the North corridor of the San Marco Convent, depicts a meeting between the Madonna, aka Mary and the Archangel Gabriel.  As with Titan’s work, one can interpret from the colors used upon this masterpiece, Angelico also favored Golden and White hues to give the painting its ethereal quality.  Considered one of the greatest of the religious masterpieces for this time, Angelico depicts the Madonna as being subservient to Gabriel while showing a similar response in body language, along with curiosity from the Angel.  Gabriel is depicted as with a more feminine form, instead of his traditional male.  Mary is wrapped in blue, a color of royalty, but sits upon cloth of gold, again depicting the majesty of her position as the mother of Christ. 

Within Michelangelo’s masterpiece “The Creation of Adam,” we can view not only the process of creation, but also the relationship between man and god, father and son.  The piece is but one panel displayed and painted for the Sistine Chapel, though considered his greatest of his frescoes.  

Upon looking closely at the painting, the first piece of note would be Adam in the nude.  Here he is laid bare before the father of all… newly born and still without sin.  Upon his face one can see the longing for acceptance and love of his father. In cohesion with Adam’s own longing, we are given God’s fascination and love for the human race as he reaches to touch Adam.  Though while Adam is nude at the stage of creation, like a new born babe, God, himself, is shown as shrouded and clothed.  

Sandro Botticelli most likely commissioned this piece for the Medici family, as it can be found currently hanging in a country estate of the Medici family.  Instead of your traditional religious themed masterpieces, Botticelli gives us a beauteous piece of art depicting mythology and the current fashion for classical works.  “The model for Venus is thought to be Simonetta Cattaneo de Vespucci, a great beauty and favorite of the Medici court.” (Italian-Renaissance-art.com)

We begin with Venus rising from the sea.  She is left nude to give honor to her position as Goddess of love and beauty, though the Goddess Hora awaits her, ready to enshroud her with a fine robe, masking that which would be considered tempting to man.  The God, Zephyrus blows Venus to the shoreline, along with the gentle breeze Aura.   Here Venus is envisioned as statuesque but also eliciting modesty by using her hair and hands to cover her more precious womanly parts, from the eyes of man. 

The Tribute Money, a fresco created by Masaccio can be located in the Brancacci Chapel of the basilica of Santa Maria del Carmine, Florence.  Masaccio’s piece is considered one of the greatest masterpieces of the current age, and will live throughout history along with the other greats.  Again we are given colors of golden hues and vivid bolds surrounding Christ, while he, himself, is dressed in more modestly attired cloth of mauve and blue.  

Within this painting we are given the visionary detailed story of Christ as he asks Peter to find a coin in the mouth of a fish, in order to pay the tax collector whom insists upon payment. “In fact, the painting contains three different scenes from the story. (1) Shown in the central area of the picture: the tax collector asks for payment, and Christ directs Peter what to do in order to get the money. (2) On the left: Peter is seen kneeling by the edge of Lake Genezaret removing the coin from the moth of a fish he has just caught. (3) On the right: Peter pays the tribute money to the tax collector in front of the latter's house.” (Visual Arts.com)

Reference:

1.      "Titian: The Assumption of the Virgin." Art Critique. 2012. Web. 21 Feb. 2016. .

2.      "The Annunciation (c.1450)." The Annunciation, Fra Angelico: Analysis of Painting, Interpretation. Web. 21 Feb. 2016. .

3.      "The Birth of Venus by Sandro Botticelli." Italian Renaissance Art.com. Web. 21 Feb. 2016. .

4.      "The Tribute Money (1425-7)." Tribute Money, By Masaccio: Analysis, Interpretation. Web. 21 Feb. 2016. .

Mirror of Princes

As I have read through the various essays and literature provided by the humanists such as Plato and Machiavelli, I find myself turning back to Machiavelli.  It is not that the others did not make sense to me; in truth, each had a logical reasoning to their points of view of which they wished to express, and yet Machiavelli, himself was practical in how he approached the topic of government and rulers. 

The translator, W.K. Marriot states, Machiavelli was careful and precise with the placement of his words.  If one did not pay close attention to how the words married with one another, one in truth may miss the underlying implied meaning that Machiavelli intended, rather than the more common place companionship of terms.  This is put forth in perfect harmony for the reader to understand the complexity of Machiavelli and how he understood how to bring comprehension where none was before. 

This is put forth in perfect harmony for the reader to understand the complexity of Machiavelli and how he understood how to bring comprehension where none was before.  Machiavelli states in his dedication how he will not adore or embellish what he wishes to present to his patron, Lorenzo Di Piero De' Medici, and yet what I found ironic was his very words belied his statement.  He showed mocking deference to Medici, flattering the man and yet makes it clear of the two of them, he, Machiavelli, is the more wise and intelligent.  

“And although I may consider this work unworthy of your countenance, nevertheless I trust much to your benignity that it may be acceptable, seeing that it is not possible for me to make a better gift than to offer you the opportunity of understanding in the shortest time all that I have learnt in so many years, and with so many troubles and dangers; which work I have not embellished with swelling or magnificent words, nor stuffed with rounded periods, nor with any extrinsic allurements or adornments whatever, with which so many are accustomed to embellish their works; for I have wished either that no honour should be given it, or else that the truth of the matter and the weightiness of the theme shall make it acceptable.” (Machiavelli, The Prince)

As we delve further into the chapters of Machiavelli’s little book, we are not only given a glimpse of what he has observed and the information he has gathered through his years of service, but we are also able to garner a time table of Italy and its states, through the shifting periods and changing political faces.  Machiavelli does not just delve within what is needed if one wishes to rule with distinction, but he uses examples from history and antiquity such as the Romans to give credence to his logic.  One of his prime statement comes with the concept that if a conqueror wishes to be a Prince / Ruler of a people that respect and love him, then he needs to settle within that country.  A ruler who does not settle within his conquered state will be unable to hold his new found power. 

Another lesson in the holding of power comes from understanding that one must weaken those who would be stronger and powerful than he.  As Machiavelli notes in Chapter III how the Romans were able to use these lessons in order to deal with the Greeks before they were able to grow in strength.  The Romans were invited into Italy by the Aetolians, allowing them a foothold in a country they previously had none.  Greece, not properly managing the Italian states soon loses those states to the Romans, due to the roman strength and greater mechanics. 

Machiavelli goes on to compare the Romans & Greeks predicament to that of King Louis XII.  Machiavelli denotes how Louis would have made an excellent king of Italy, except he failed to understand what the Romans, they did.  He was not a machine who comprehended the mechanics of strength, overall.  Instead he failed to keep the power within his own hands, where it should of resides, thereby separating church and state.  When Louis took Milan he made a fatal error: “he did the contrary by assisting Pope Alexander to occupy the Romagna. It never occurred to him that by this action he was weakening himself, depriving himself of friends and of those who had thrown themselves into his lap, whilst he aggrandized the Church by adding much temporal power to the spiritual, thus giving it greater authority. And having committed this prime error, he was obliged to follow it up, so much so that, to put an end to the ambition of Alexander, and to prevent his becoming the master of Tuscany, he was himself forced to come into Italy.” (Machiavelli, The Prince)

When I compared Machiavelli’s original production with that of Felix Gilbert’s Thesis “The Humanist Concept of the Prince and the Prince in Machiavelli,” I came away with two very different looks at the same topic.  Where Machiavelli was intent upon giving us structure and a basis for future establishments of authorities and ruling bodies, Gilbert, on the other hand, gave us more the moral and decorum of what a Prince should behave as.  Machiavelli tended to stay focused upon the ideas and concepts of what government needed in order to be successful for its people and state.  Gilbert brought into focus, through the works of Egido and how Egido states “The prince, he says, must set an example to his subjects, both in the conduct of his private life and the ordering of his court and household. Thus, when Egidio describes the ordering of the prince's household, he merely draws a picture of how a model household ought to be managed according to the precepts of religion. He deduces the prince's political duties from those principles of natural jus- tice by which the prince himself was bound and which it was his duty to see applied.”(Felix Gilbert, The Humanist Concept)

As I look at present day situations and politics I find that Machiavelli’s logic and lessons can and often are still applied.  We, as a people seek to separate church and state from government, unfortunately, this is never as easy a factor as one might perceive.  Whether we are looking to interfere with politics in other countries or dealing with issues here within our own boarders we find ourselves coming up against the very issues Machiavelli warned against, such as over-extending ones power by placing the expansive colonist/military without taking into consideration how this will cause upheaval and rebellion if we take too much from the poor and civilians of the countries we are seeking to conquer.  Plato, through poetic verse managed to express the idealistic view point of what one could only hope we would eventually obtain as a culture:

“And are not those who are verily and indeed wanting in the knowledge of the true being of each thing, and who have in their souls no clear pattern, and are unable as with a painter's eye to look at the absolute truth and to that original to repair, and having perfect vision of the other world to order the laws about beauty, goodness, justice in this, if not already ordered, and to guard and preserve the order of them --are not such persons, I ask, simply blind?

In the first place, as we began by observing, the nature of the philosopher has to be ascertained. We must come to an understanding about him, and, when we have done so, then, if I am not mistaken, we shall also acknowledge that such an union of qualities is possible, and that those in whom they are united, and those only, should be rulers in the State.” (Plato, The Republic VI)

References:

1.      Plato. "The Internet Classics Archive | The Republic by Plato." The Internet Classics Archive | The Republic by Plato. Web. 18 Apr. 2016. .

2.      Machiavelli, Nicolo. "The Prince." Medieval Sourcebook: Nicolo Machiavelli (1469-1527): The Prince, 1513. Internet History Sourcebooks Project. Web. 18 Apr. 2016. .

3.      Gilbert, Felix. "The Humanist Concept of the Prince and the Prince of Machiavelli." The Journal of Modern History 11.4 (1939): 449-83. Web.