Cesare Borgia Quotes

Mind being the seat of the soul, and literature being the expression of the mind, literature, it follows, is the soul of an age, the surviving and immortal part of it.

Any man in love with Cesare is already half in love with his sister. Now, when [Pedro Calderon] shuts his eyes, he cannot see anything else.

One enemy at the time.

Any man in love with Cesare is already half in love with his sister.

In the aftermath, we lay side by side, struggling for breath. I reached out, brushing my fingers lightly down his arm. Cesare seized my hand and pressed it to his lips. We remained like that as slowly the world righted itself.

You are bruised.' 'Am I? I hadn't noticed.' 'Lucrezia says you killed the bastard.' ... Cesare's hands were shaking. Hard, sun-darkened hands made to hold a sword or lance unflinchingly, but they trembled against my pale skin.

Mind being the seat of the soul, and literature being the expression of the mind, literature, it follows, is the soul of an age, the surviving and immortal part of it; and

God is the ultimate fantasy of the Superiority Principle. Milton’s Lucifer, the ultimate individual, the most romantic figure in all of literature, is the Superiority Principle made flesh. Lord Byron loved him. Cesare Borgia came close. Caesar or nothing, as he liked to say. Every individual loves the Prince of Darkness! As Milton declared, ‘To reign is worth ambition though in Hell: Better to reign in Hell, than serve in Heav’n.’ That is the philosophy of the individual, the motto of the Superman.

Life is an ephemeral business, and we waste too much of it in judging where it would beseem us better to accept, that we ourselves may come to be accepted by such future ages as may pursue the study of us.

My heart is yours, Cesare. And we are both damned for it.

Cesare Borgia—oh, Cesare Borgia has proved himself a great warrior.

In a certain sense, rebellion, with Nietzsche, ends again in the exaltation of evil. The difference is that evil is no longer a revenge. It is accepted as one of the possible aspects of good and, with rather more conviction, as part of destiny. Thus he considers it as something to be avoided and also as a sort of remedy. In Nietzsche's mind, the only problem was to see that the human spirit bowed proudly to the inevitable. We know, however, his posterity and what kind of politics were to claim the authorization of the man who claimed to be the last antipolitical German. He dreamed of tyrants who were artists. But tyranny comes more naturally than art to mediocre men. "Rather Cesare Borgia than Parsifal," he exclaimed.

(About Cesare Borgia) What cruelties were not the result of his? Who could count all his crimes? Such was the man that Machiavel prefers to all the great geniuses of his time, and to the heroes of antiquity, and of which he finds the life and action make a good example for those that fortune favors.

Uncertainty is more contagious than the plague. Cesare,

Never presume that I will not act on my worst instincts.

MAIN CHARACTERS Cesare Borgia (c. 1475–1507). Italian warrior, illegitimate son of Pope Alexander VI, subject of Machiavelli’s The Prince, Leonardo employer. Donato Bramante (1444–1514). Architect, friend of Leonardo in Milan, worked on Milan Cathedral, Pavia Cathedral, and St. Peter’s in the Vatican. Caterina Lippi (c. 1436–1493). Orphaned peasant girl from near Vinci, mother of Leonardo; later married Antonio di Piero del Vaccha, known as Accattabriga. Charles d’Amboise (1473–1511). French governor of Milan from 1503 to 1511, Leonardo patron.

Without entering here into a dissertation upon the historical romance, it may be said that in proper hands it has been and should continue to be one of the most valued and valuable expressions of the literary art. To render and maintain it so, however, it is necessary that certain well-defined limits should be set upon the licence which its writers are to enjoy; it is necessary that the work should be honest work; that preparation for it should be made by a sound, painstaking study of the period to be represented, to the end that a true impression may first be formed and then conveyed. Thus, considering how much more far-reaching is the novel than any other form of literature, the good results that must wait upon such endeavours are beyond question. The neglect of them—the distortion of character to suit the romancer's ends, the like distortion of historical facts, the gross anachronisms arising out of a lack of study, have done much to bring the historical romance into disrepute.

Giulia clasped her hands together just below her bosom, blinked moistly, and flung herself at Borgia's feet. 'My lord! My darling! How could I not be overcome with concern for you? Truly, the burdens you carry would crush any other man. How fortunate we are that Our Father in Heaven has endowed our father here on earth with such wisdom and strength to see us through this difficult time.' What amazed me - and still does - is that men actually believe such drivel. Even a man as worldly, as brilliant, and above all as cynical as Borgia will nod complacently and accept it as his due. Nor did Cesare so much as raise an eyebrow. I supposed he heard the same sort of thing often enough himself.

In Lisa’s lifetime, a galaxy of artistic stars—Michelangelo, Botticelli, Raphael, Perugino, Filippino Lippi—rivaled the heavens with their brilliance. None outshone the incandescent genius of Leonardo, who emerges from the fog of history as more of a cultural force than a mere human being. ... During Leonardo’s and Lisa’s lifetimes, largerthan-legend characters strutted across the Florentine stage: Lorenzo de’ Medici, whose magnificence rubbed off on everything he touched. The charismatic friar Savonarola, who inflamed souls before meeting his own fiery death. Ruthless Cesare Borgia, who hired Leonardo as his military engineer. Niccolò Machiavelli, who collaborated with the artist on an audacious scheme to change the course of the Arno River.

Leonardo da Vinci was employed by Cesare Borgia for about a year to work as an engineer and military architect, and there were rumors that they had a homosexual relationship. Cesare's father, Cardinal Rodrigo de Lanzol y Borgia, who later became Pope Alexander VI, schemed to have the Catholic Church accept his son's image as that of Jesus Christ.   The

If you cannot help being charming and superior, you must learn to avoid such monsters of vanity. Either that, or find a way to mute your good qualities when in the company of a Cesare Borgia.

If a connoisseur of the irony of political life is struck solemn by it, if he talks of tragic irony, then he is a ‘wet’ Machiavellian, a Christian. If he is fascinated by it, intellectually interested, he is a central Machiavellian, like the master himself. If he is amused by the irony of political life, he is an extreme Machiavellian, a cynic, a man who enjoys the sufferings and embarrassments of others. Just as Machiavellians do not understand the nature of tragedy, so Grotians are unable to understand the structure or texture of irony, which has several strands. The first is that of mere accident. Thus Cesare Borgia made many precautions against Alexander VI's death… Machiavelli recalls: ‘On the day that Julius II was elected, he told me that he had thought of everything that might occur at the death of his father, and had provided a remedy for all, except that he had never foreseen that, when the death did happen, he himself would be on the point to die... Another strand of historical irony is multiple or cumulative causation of a single result. Thus there were many mistakes in Louis XII's policy in Italy: he destroyed the small powers; aggrandized a greater power, the papacy; and called in a foreign power, Spain. He did not settle in Italy, nor send colonies to Italy, and he weakened the Venetians... A third strand is the single causation of opposite results, or paradox. Marxists like this notion: the bourgeoisie created simultaneously a single world economy and the extreme of international anarchy… A fourth strand of irony is self-frustration, or failure. Men intend one result and produce another... Japan, too, by attempting to conquer China, did much to make China instead of herself the future Great Power of the Orient... A fifth strand in historical irony is that the same policy, in different circumstances, will produce different effects... The sixth and last strand is that contrary policies, in different circumstances, can produce the same effects. This is discussed in an unintentionally amusing way in The Discourses (bk III), when Machiavelli discusses whether harsh methods or mild are the more efficacious. He lists examples where humanity, kindness, common decency, and generosity paid political dividends, including Fabricius' rejection of the offer to poison Pyrrhus. But Hannibal obtained fame and victory by exactly opposite methods: cruelty, violence, rapine, and perfidy.

Isabella did not lack for occupation, and had plenty of projects between the embellishment of her art collection and, during Francesca’s absences, the running of Mantua. The worsening situation as Cesare Borgia greedily took the weaker Romagnal states, as well as there being two French invasions, had left Isabella as regent of her husband’s small but important state for much of her married life. During that critical period, which required supreme diplomacy, she feared that her husband, a creature not gifted with the necessary slippery talents, could cause real harm to the couple and their state with one of his ill-tempered and overly frank outbursts.

How do ugly men make their way through life? He thinks of Michelotto. When he walks down the street men take half a step back from him. But he, Cesare, wields a different power. His face has always been his first weapon. Look at me, it says. I am what you see: easy on the eye, strong to the taste, a man with substance, someone to admire, for how can beauty this natural lie?

Its most memorable scene takes place in the piazza at Cesena early one morning in 1502, where the local governor, Remirro de Orco, is found in two pieces, with a bloody knife and a block of wood between them. “The ferocity of the spectacle,” Machiavelli recalls, “left the people at once satisfied and stupefied.” Cesare Borgia had made Remirro the governor of Romagna with instructions to pacify the rebellious province. This he did, but so brutally that he’d never have the loyalty of its people. So Borgia didn’t just sack his subordinate: he disassembled him and displayed the pieces. The shock and awe accomplished its purpose: at the cost of one life, others were saved that would have been lost if a new revolt had broken out.

The concept, "all men are equal before God" does an extraordinary amount of harm; actions and attitudes of mind were forbidden which belonged to the prerogative of the strong alone, just as if they were in themselves unworthy of man. All the tendencies of strong men were brought into disrepute by the fact that the defensive weapons of the most weak (even of those who were weakest towards themselves) were established as a standard of valuation. The confusion went so far that precisely the great virtuosos of life (whose self-control presents the sharpest contrast to the vicious and the unbridled) were branded with the most opprobrious names. Even to this day people feel themselves compelled to disparage a Cesare Borgia: it is simply ludicrous. The Church has anathematised German Kaisers owing to their vices: as if a monk or a priest had the right to say a word as to what a Frederick II. should allow himself. Don Juan is sent to hell: this is very naïf. Has anybody ever noticed that all interesting men are lacking in heaven? ... This is only a hint to the girls, as to where they may best find salvation. If one think at all logically, and also have a profound insight into that which makes a great man, there, can be no doubt at all that the Church has dispatched all "great men" to Hades — its fight is against all "greatness in man".