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Machiavelli’s Army

“War should be the only study of a prince. He should consider peace only as a breathing-time, which gives him leisure to contrive, and furnishes as ability to execute, military plans.”
Niccolo Machiavelli, The Prince.
“Igitur qui desiderat pacem, praeparet bellum.”
(Therefore he who desires peace, should prepare for war)
Vegetius, Epitoma Rei Militaris.

Niccolo Machiavelli is a name that resounds throughout Western military and political thought, and many a scholar and soldier has perused his works with varying degrees of amusement, entrancement, or disgust. Opinions abound as to whether his most famous work, The Prince, was written as a bitter satire or as “…a scientific manual for tyrants”#, as well as to the validity of his Arta della Guerra or Art of War. Much discussion has gone into what his intentions were, what his mindset was, who his writings were meant for, and whether or not his theories hold water in the modern era.
What has been, at least in my opinion, under-appreciated, is what he accomplished; that is, how his political and military experience (and more importantly how he expressed them) changed the face of warfare forever. I say the face of warfare with particular emphasis, for the nature of war itself is immutable. No lesser historical deity than Herodotus once wrote “War is the father of us all, king of all”, and because it is so linked to human nature, this remains as true today as it was 2500 years ago. It is one of the great ironies of the intellect and of history, that we are constantly discovering what has been discovered before, with new shiny names for them. But, you might ask, why then is this otherwise obscure Florentine so important? If everything he says has been said and learned before, why should we listen to him? Can we truly call him an original thinker? If the nature of war is intrinsically unchangeable, what were his contributions to the accidental makeup of war?
When I say that Machiavelli changed the face of warfare, it is important to understand what warfare looked like for him, for the change was very conscious on his part. During his tenure as head of the Second Chancery for the Florentine republic, he advocated for, at then studiously built, a native fighting force for the defense of Florence. This in and of itself represented a break with the traditions of the day, which placed its trusts primarily in mercenary troops from Spain and Switzerland. It also can be seen as a return to the military traditions of the Greek and the Roman Republics, who built their militias from the landed citizenry with the result that they had an extremely effective and motivated force for the defense (and expansion) of their state. His emphasis, like the aforementioned ancients, was on infantry. He advocated a return to the model of the legionary, with shield and sword. This is extremely important, as infantry had become accessories of cavalry on offense and counterpoint to opposing cavalry on defense; witness the Swiss pike-men and their emulators, the German landsknechts. But as fearsome as these mercenaries were, Machiavelli witnessed their defeat at Ravenna in 1512 at the hands of Spanish infantry operating on a Roman model, armored infantry fighting with a small buckler and sword who massacred the landsknechts in close quarters. This to him proved that his earlier formation of infantry militia in like pattern had been valid, despite the spotty record of his own chosen troops. They were a key element to the Florentine victory at Pisa in 1509, but suffered a crushing defeat during the fall of Prato in 1511.
Machiavelli has been criticized for dismissing cavalry, artillery, and fortresses in his military treatises. In his defense, cavalry in Italy at the time consisted of the mercenary “condottieri” (who were part of the problem), and a half-century earlier the greatest fortress in Europe, the Theodosian Walls of Constantinople, had fallen to the Turks. According to Gilbert’s essay, he did not dismiss artillery wholesale, but he “rejected the idea that artillery alone could be decisive”, which was a popular view in his day. He instead held that the “fundamentals of war” were unchanging, and that these military innovations were merely cosmetics. His view has certainly been validated. He knew from his studies of the ancients that only infantry could both take and hold ground, and therefore establish lasting political as well as military presence. Such infantry were and are the keystone of regional security, a role for which he envisioned his new army. This has been born out in our own day, most notably during the two “Gulf Wars”. During the 1991 campaign, American tanks and air power (artillery and cavalry) obliterated the Iraqi defenses, and then gave up all their gains by not putting boots on the ground and by allowing Saddam Hussein to retain control of Iraq. It was a showy war, and great PR; but it accomplished little of import. This of course presaged the more recent war, in which infantry won the ugly long term campaign by staying in Iraq, winning over local leaders, and protecting civilians.
The Art of War contains many adages culled from Machiavelli’s experience and his perusal of the ancient sources, which, when added to his observations from The Prince and the Discourses, creates a compendium of serious note for any military or political principe. For example:
“In war, discipline can do more than fury”.
“No policy is better than that which remains hidden from the enemy until you have executed it”.
“Good captains never come to battle if necessity does not constrain them or opportunity does not
call them”.
The book also contains many organizational guidelines, as well as the strategic ones outlined above. In Book II, Machiavelli outlines the basis for his infantry forces. They are also recognizably those of the Romans (with a few adjustments) and have become those of every modern military. Observe:
This group was called legion by the Romans…in our [language] signifies brigade…
I want us to divide our brigade into ten battalions, and compose it of six thousand
men on foot. And we should give to each battalion 450 men, of whom 400 should be
armed with heavy arms and 50 with light arms.
Thus we see the birth of the modern infantry battalion. To be sure, the numbers are larger today, double these figures, actually, but the organizational principle remains the same. In a modern Marine infantry battalion, you would find about 700 regular infantrymen, plus 150 heavy/support weapons specialists, and around 50 support personnel. Each battalion “…would place a constable, four centurions, and 40 decurions…” in charge of its operations, just as today we have battalion commander, company commanders, and squad leaders.
The linchpin to his strategy was not just the troops themselves, but the commanders he chose to lead them#. The characteristics of those chosen can, with some degree of certitude, be assumed:
A prince being thus obliged to know well how to act as a beast must imitate
the fox and the lion, for the lion cannot protect himself from traps, and the
fox cannot defend himself from wolves. One must therefore be a fox to
recognize traps, and a lion to frighten wolves.#
His mention of ‘a prince’ can I believe in this case be readily substituted with ‘a captain’#. The analogy can also be extended to the unification of politics and the military, with the political wing comprising the fox, and the state’s conscripted army being, of course, the lion.
In addition to the aforementioned anthropomorphic qualities, it is important to focus on virtu, those traits defined by Machiavelli in The Prince, which belong to a particular brand of individual more likely to be found as the antagonist in a particularly good novel than in reality. To be brief, virtu encompasses such traditional virtues as bravery and fortitude, but also ruthlessness and mendacity, attributes certainly not found on any normal moral compass. But I would posit that it is these qualities which aided in the establishment of modern states, or at least the protection of them. These attributes are evident in such famous commanders as Peter the Great, Frederick the Great, Napoleon, Zhukov, and in Machiavelli’s own day, Cesare Borgia. One might object to these names on the basis that they all met a rather sticky end (with the exception of Frederick). But what is irrefutable is that their actions directly preserved and promulgated the ideologies of their respective factions or states.
In Book 12 of The Prince, Machiavelli writes “…there cannot be good laws without good arms, and where there are good arms there must be good laws”. This might not seem such a revolutionary concept to those of us living in a nation built on the symbiosis of the political, social, and military arenas, but in Renaissance Italy, it was indeed just that. The fractured Italy of the 15th and 16th centuries was a direct result of the inability of its self-interested and commerce-driven cities to unite under one banner, and hence they were constantly being destroyed or co-opted by France, Spain, or the Holy Roman Empire. They trusted in mercenaries for their defense, because the wealth of their cities meant that, like the patricians of the late Roman period, they had no need to fight when they could pay others to do it for them. This is a position which Machiavelli violently objected, to stating in his Discourses on Livy that “it is as impossible that good soldiers should lack money, as that money by itself should secure good soldiers”. Rome, after all, for all its wealth, crumbled into dust when it moved away from conscripted citizen armies (with loyalty towards and trust in the state) and placed its trust in foreign troops.
Machiavelli’s whole personal philosophy was centered on the perceived rebirth of the Roman Republic, and one of the key elements of that society was the driving ambition of its patrician and equestrian class. In comparison to the merchants and artisans who governed Florence (whose chief concern was the perpetuation of peace so that commerce, and therefore profits, would continue uninterrupted), these glory- and fame-driven individuals were positively bloodthirsty, but Machiavelli saw his compatriots as soft, weak, and short-sighted#. The likes of Marius, Scipio Africanus, and Cato would therefore be logical character counterbalances to those he saw emulating Crassus and Croesus (the latter not a Roman but the type fits and it makes excellent alliteration). These ancient paragons were the men he wished to run Florence, and indeed Italy, for only an Italy united by a strong military and political system could resist the foreign incursions of Spain, France, and the Germans, just as Rome resisted Gaul, Carthage, and a dozen others over the centuries.
Now that we know what he proposed, supported, and wished to accomplish. With the hindsight available by our review of history, we know that Rome was not reborn in Renaissance Florence. But what was accomplished was the nativity of a new way of viewing the world and the way men interacted, delineated by an exiled diplomat of an ultimately failed state. Machiavelli essentially legitimized victory at any cost, authorized deception as a diplomatic tool, and delineated what has become the basis of modern military organization. To this day, American military officers are told that their job, first, foremost, and always, is “mission accomplishment” (in other words, the good of the state) at all costs. They are told that the men they lead are a secondary concern, much like the Roman centurions Machiavelli admired and the subsequent European officer corps he inspired.
It was not only officers the Italian inspired; his works also sparked the one of foremost minds in American history. Thomas Jefferson once wrote:
“…before my eyes I have none but Locke, Sidney, Milton, J.J. Rousseau, and Th. Payne;
that is my entire library; I have burned the rest, except for Machiavel[li],whom all
diplomats possess, though they dare not confess it, and whom free men ought to place
alongside the ‘Declaration of Rights'”
Here we see, in no uncertain terms, what our own country owes to the great Italian. Although the adjective, ‘machiavellian’, comes to us now with undertones of contempt, it is in fact an appellation greatly to be desired. In the arenas of politics and the military, he is the quintessential realist; this is borne out by the fact that he is still required reading among military officers, and less formally so among politicians. His writings on the absolute necessity of a citizen army# are directly responsible for the current military ethos which exists in Western countries. His promotion of combined arms was incredibly prescient, as was his often sarcastic but always accurate portrait of effective leadership. Proponents of realpolitik#, an essentially Machiavellian pursuit, owe everything to him. It is indeed difficult to envisage the world as we know it without Machiavelli’s touch upon it.

So tell me, fine readers: what do you make of this? Fair or foul, I promise not to scheme for your downfall 😉

What should the caption be?

Book III Crime and Punishment

‘Lying Your Way To the Truth’

Razumikhin restores a kind of order to Raskolnikov’s life. We’d do well to look at a few things that Razumikhin thinks of that reflect a desire similar to Raskolnikov’s in that they both protest about the emptiness of using other people‘s ideas. Razumikhin is so much a likable character though, in contrast to Raskolnikov, because he doesn’t stew in his room to think about ideas–he goes out and engages those ideas in print, at dinner parties, and, we can imagine, at no few dark taverns and low boarding houses.

In Book Three, Razumikhin keeps on complaining loudly of the argument he had engaged in at his uncle’s boarding house: driven by the recent murder and robbery of Aliona and Lizaveta, the discussion there turned to the nature of crime and the criminal mind. The talk is overly conceptual for the ‘living, loving, acting’ Razumikhin, as he drunkenly fumes to the astonished and overwhelmed ladies, Pulcheria and Dunya: “Well, so they insist on total impersonality, can you believe it? And that’s just where they find the most relish! Not to be oneself, to be least of all like oneself! And that they consider the highest progress. If only they had their own way of lying…” (202). He brushes aside Mama’s interruption:




What do you think? …. You think it’s because they’re lying? Nonsense! I like it when people lie! Lying is man’s only privilege over other organisms. If you lie–you get to the truth! Lying is what makes me a man…. Well, but we can’t even lie with our own minds! Lie to me, but in your own way, and I’ll kiss you for it. Lying in one’s own way is almost better than telling the truth in someone else’s way; in the first case you’re a man, and in the second–no better than a bird! …. We like getting by on other people’s reason–we’ve acquired a taste for it! Right? Am I right? (202-203)

On the same theme the next day, at Porfiry Petrovich’s house with Raskolnikov and Zamyatov, Razumikhin elaborates on why the thoughtlessness of the Socialists’ view of crime roused his passions:

With them, it is always a ‘victim of the environment’–and nothing else! Their favorite phrase! Hence directly that if society itself is normally set up, all crimes will at once disappear, because there will be no reason for protesting and everyone will instantly become righteous. Nature is not taken into account, nature is driven out, nature is not supposed to be! With them, it’s not mankind developing all along in a historical, living way that will finally turn by itself into a normal society, but, on the contrary, a social system, coming out of some mathematical head, will at once organize the whole of mankind and instantly make it righteous and sinless, sooner than any living process, without any historical and living way! …. You can’t overleap nature with logic alone! Logic will presuppose three cases, when there are a million of them! Cut away the whole million, and reduce everything to the one question of comfort! The easiest solution to the problem! Enticingly clear, and there’s no need to think! Above all, there’s no need to think! The whole of life’s mystery can fit on two printed pages! (256-257)

This argument on crime, coming up in context of Raskolnikov’s very intimate engagement with crime, can be applied to his situation. You’ll remember that he is already aware of poor environment leading to crime: when his mother suggests, “I’m sure it’s half on account of this apartment that you’ve become so melancholic,” he replies, “Apartment?…. Yes I’m sure the apartment contributed a lot…. I’ve thought about that myself… (231). But can Raskolnikov’s crime be applied to the socialist model for crime? If it can be, then if Raskolnikov only had enough money to furnish and live in a comfortable place, he would not have committed his crime! We see, however, that there is more to Raskolnikov’s discomfort than mere lack of a good environment. He does not even take advantage of the opportunities he has (especially after the robbery!) to find a better environment. Indeed, you’ll remember that it would be stifling everything that is in him to accept Dunya’s sacrifice for him that would have placed him in a good environment.




This knowledge drove Raskolnikov’s conversation with Zamyatov: Raskolnikov was so convinced of Zamyatov embracing conventional theories of crime that he was able to play Zamyatov for the fool. In Porfiry Petrovich, however, Raskolnikov has found a worthy opponent who does not embrace the conventional theory that all crimes may be categorized under three logical headings.

That whole first encounter of Raskolnikov with Porfiry is a brilliant psychological game of cat-and-mouse. I’ll try to summarize briefly the tricks that both parties employ in their conversation (248-254).

Raskolnikov knows that Porfiry suspects him, so he walks into Luzhin’s house laughing uproariously and light-heartedly. He desires this laughter to be as natural as possible so that he does not seem to be acting guilty or, most importantly, aware that Porfiry suspects him. Porifry cannot help but acknowledge that the first points go to Raskolnikov, and turns their talk immediately to business, “with the sort of eager and all too serious attention that from the first becomes burdensome and embarrassing, especially for a stranger, and especially when what is recounted seems, in one’s own opinion, out of all proportion to the unusually weighty attention accorded it” (250). Porfiry seeks to make Raskolnikov uncomfortable by paying weighty attention to what should be trifling things, thus assuming an all too intimate knowledge of Raskolnikov’s life. A good counter-stroke for the investigator.

So, Raskolnikov thinks, ‘OK! I can play that game, and be just as absorbed in the details of these trifles as you are!’ and asks for some specifics about the financial aspects of the matter: “On ordinary paper?” “Oh, the most ordinary, sir!” Porfiry replies, and it seems to Raskolnikov that Porfiry “looked at him somehow with obvious mockery, narrowing his eyes and as if winking at him” (251). Porfiry somehow makes Raskolnikov uncomfortable by for an instant letting Raskolnikov know that he (Porfiry) knows exactly how Raskolnikov is trying to deflect suspicion.

Raskolnikov, momentarily disturbed (“He knows!” flashed in him like lightning) attempts to recover by giving what he hopes seems like a natural, innocent explanation for his previous demonstrated interest in the case of the murders.

“Excuse me for bothering you with such trifles,” he went on, somewhat disconcerted, “my things are worth only five roubles, but they are especially dear to me as mementos of those from whom I received them, and, I confess, as soon as I found out, I was very afraid…”
“That’s why you got so roused up yesterday when I let on to Zossimov that Porfiry was questioning the pawners!” Razumikhin put in with obvious intention.
Now, this was insufferable. (251)

Raskolnikov’s desired “naturalness” is spoiled when Razumikhin points out how someone who knows that he is suspected might be trying to deflect that suspicion. So he shows anger towards his friend, but ‘immediately recovers’ himself from that anger which would have confirmed, to Porfiry, that Raskolnikov is angry at Razumikhin for betraying his motives: his next words attempt to be a “natural” explanation for why he has just been wrathy with Razumikhin. “… You may laugh, but my mother has come to visit me … and if she were to find out … that this watch is lost, I swear she would be in despair! Women!” Unfortunately, Raskolnikov gets the impression that this back and forth did not go so well: “Well done? Natural? Not exaggerated?” Raskolnikov trembled within himself. “Why did I say ‘women’?” (250-251). Pleased at how the exchange is progressing, Porfiry decides to show one of his down cards (but just one!), telling Raskolnikov that he has been ‘waiting for you a long time.’ The card he doesn’t show is what might be the real, natural, explanation for why Porfiry might be waiting for Raskolnikov: Raskolnikov is the only pawner that has not yet come to see Porfiry.




See, if Raskolnikov was really innocent, why should he care that Porfiry has been waiting for him? Porfiry bets that Raskolnikov is not innocent, and Raskolnikov’s reaction to his “bluff” bears out that gamble: he gives “a start” when the card is shown. Porfiry, pleased, seems not to notice Raskolnikov’s surprise, content to hide his other card until Raskolnikov is betrayed into showing some of his own hand, revealing himself as consciously under suspicion and trying to make excuses. “Stupid! Weak! Why did I add that?” Raskolnikov critiques himself for betraying some kind of excuse for his overreaction when he finally learns just how natural Porfiry waiting for him could have been (252).

Conceding points to Porfiry, Raskolnikov tries to recover by giving a natural explanation for why he has not yet seen Porfiry: “I was not feeling well.” Porfiry manages to convey that this is not necessarily natural: “So I have heard, sir. I’ve even heard that you were greatly upset by something.” And then, to suggest that that something might have to do with guilt and suspicion, he adds, “You also seem pale now.” It’s almost as if Porfiry is trying to provoke the angry reaction that Raskolnikov betrays upon the exchange about sickness; perhaps he realizes, as Raskolnikov does an instant too late, “it’s in anger that I’ll make some slip!” (252-253).

Realizing that he is losing, Raskolnikov plays the same game that has worked so well before with Zamyatov. It is fairly obvious that he is under suspicion at this point; instead of trying to hide all of his strange behavior under the guise of illness and delerium, which might seem to be the reaction of one who is guilty about something, he refuses to acknowledge his truly weakened physical and mental state of the past two days. He appeals to Zamyatov, whose hand Raskolnikov has already duped into betraying: “What do you say, Mr. Zamyatov, was I intelligent yesterday, or delirious?” “Mr. Zamyatov here knows I found a treasure!” (253-254). It seems that he hopes to be trying to do again what he did to Zamyatov the evening before: get his “tormentors” to think that he is indeed guilty so that he can make them look foolish by destroying their expectations. Taking some confidence from this method having worked before (and it at least halts Porfiry’s “tormenting”), Raskolnikov takes a stab of his at Porfiry’s suspicion: “Excuse us, please… for bothering you half an hour with such a trivial exchange. You must be sick of it, eh?” Seeing a natural way to deflect suspicion, Raskolnikov hopes to turn the subject to a different tune. Raskolnikov is helped unconsciously to this end by the earthly Razumikhin, but Porfiry will have none of this deflection: “My goodness, sir, on the contrary, on the co-o-ontrary! You have no idea how you interest me!” (254).

It’s not that I worry about inducing tedium by running through the rest of this initial “interrogation,” for it is truly a fascinating study of the pursuer (Porfiry) and the pursued (Raskolnikov), though it is indeed late. I just do not want the thread of Razumikhin’s discourse on lying to recede too far from your consciousnesses.

I remember that the first time I read Crime and Punishment I was in a sweat flying through Book Three to the end. I hated Porfiry and his smirking sly fat little body, and desired nothing more than that Raskolnikov would crush Porfiry’s damned psychologizing (‘There’s more to heaven and earth, Porfirio, / Than is dreamt of in your psychology’).

Having said that, here’s a proposition that I want you to take from the conversation in Book Three to the proceeding conversation between the antagonists the next day: Porfiry is speaking his “own new word” with respect to Raskolnikov’s “own new word.” He is answering to the issue that Raskolnikov has brought to light deriding given forms, or received ideas, about what is right and what is wrong, with a similar derision towards given forms, or received ideas, on the nature of crime and the criminal. The manner that Porfiry adopts in both conversations (or, “interrogations”) embraces Razumikhin’s phrase about “lying your way to the truth.”



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