On a different note, the prince must keep its friends even closer than its enemies for among them hide many flatterers who feed off of the flattered. Flatterers are dangerous as they are potential enemies in disguise. Princes are tempted to underestimate them or worse, to believe that the flatterers’ admiration and love are disinterested. In the case of the nobility, neutrality is rarely an option. The elite can either officially side with or against the prince:
Men of rank cannot decide to sit quiet even when they decide truly any ambition, because they are not believed. Hence even when they do wish to be quiet, other people will not leave them in quiet. You must, then, play the fool like Brutus, and often you play the madman, praising, speaking, seeing, and doing things contrary to your purpose, to please the prince. (Machiavelli and Gilbert 1965, v.1, p.424)
Brutus seemed…show more content… Yet, he took part in the conspiracy to kill Julius Caesar, who considered him his friend. Caesar was not careful enough and took Brutus’ loyalty for granted, which caused his demise. The question of reputation is also central to Machiavelli’s Mandragola. In the play, Machiavelli exposes the politics of appearances ruling Florence as every character tricks or is tricked. Callimaco’s complex scheme succeeds because it doesn’t compromise anyone’s public image. Callimaco passes for a physician in the eyes of Messer Nicia thanks to the endorsement of Ligurio, who is himself an imposter: ”He’s given the strongest proofs in Paris” (Machiavelli and Gilbert 1965, v.2, p.785). Besides testifying of Nicia’s credulity, the success of Callimaco’s plan demonstrates the power of image in Machiavelli’s Florence, where high birth and wealth lead to advantageous socio-professional positions. As Siro notes, Messer Nicia is not the brightest man, yet he is a judge: “If the other judges were like
