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Theological Origins of Modernity

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humanism and the apotheosis <strong>of</strong> man 91<br />

and exiting evil divinely comprehended, go postmortem by God’s immediate<br />

and fi nal judgment directly to the dwelling place <strong>of</strong> heroes. 72<br />

Machiavelli imagines that God recognizes that princes must commit evil in<br />

order to establish and maintain a well-regulated state, the highest earthly<br />

good. God therefore must recognize the essential goodness <strong>of</strong> the prince.<br />

Despite the “evil” the prince does, he thus does not burn in hell and is in<br />

fact welcomed into heaven. 73 Machiavelli’s humanism is thus Christian in<br />

the broadest sense <strong>of</strong> the term, but it is a Christianity that is subordinated<br />

to the very human needs <strong>of</strong> this world. 74<br />

In his depiction <strong>of</strong> such legislators, Machiavelli portrays them as selfmaking<br />

Promethean fi gures, drawing heavily on Pico, whom he greatly<br />

admired. In his view, they exist in a certain sense outside <strong>of</strong> ordinary<br />

human society and develop an independence and resourcefulness that<br />

sets them apart from other human beings. Th eir utter self-reliance better<br />

equips them to deal with the exigencies <strong>of</strong> life and consequently the<br />

exigencies <strong>of</strong> politics. Such independence is manifest in Machiavelli’s four<br />

great examples <strong>of</strong> successful founders, Moses, Cyrus, Th eseus, and Romulus.<br />

All <strong>of</strong> them were fatherless children and thus had to rely on their own<br />

arms almost from birth. Th is point is reemphasized by Machiavelli’s discussion<br />

<strong>of</strong> Cesare Borgia, who was perhaps as great in all other respects<br />

as Machiavelli’s four heroes but who failed to secure his power because he<br />

had and relied upon a father.<br />

In contrast to Pico and Ficino, however, Machiavelli recognized that<br />

the powers <strong>of</strong> even the greatest human beings were fi nite. From their more<br />

aesthetic and theoretical perspective, Pico and Ficino could imagine that<br />

the truly creative human being could mimetically re-create the world. Machiavelli’s<br />

experience <strong>of</strong> political life convinced him that all human beings<br />

were constrained by a whole variety <strong>of</strong> unpredictable factors. Even at their<br />

most pr<strong>of</strong>i cient, humans in his view can succeed only half the time.<br />

In his pessimistic realism, Machiavelli is closer to Petrarch than to<br />

Ficino. As we have seen, Petrarch was convinced that chaos and war were<br />

the natural state <strong>of</strong> things. He hoped that a new Scipio could bring order<br />

to this chaos, but short <strong>of</strong> that he was convinced that happiness could be<br />

obtained only by retreating into solitude with a small group <strong>of</strong> friends.<br />

Beginning with Ficino and drawing on Plato, humanists began to believe<br />

that there was an innate principle in all things, an order <strong>of</strong> love that pulled<br />

everything toward the good and thus toward God. In Machiavelli we see<br />

the ultimate rejection <strong>of</strong> this idea. At least since the time <strong>of</strong> Cain, he tells<br />

us, the loving harmony <strong>of</strong> the world has been disrupted by anger and

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