Two generations of students inspired by Harvey Mansfield come together here to demonstrate how their diverse approaches illuminate the topic of the arts of rule and speak to the wide scope of Mansfield's contributions. The essays collected here cover both ancient and modern ground. The first section covers topics such as Xenophon's question of what it is to be a gentleman, Aristotle's view of friendship, Montaigne's account of the highest good, and Montesquieu's elevation of modesty. The second section engages Machiavelli's political theory and its influence on subsequent thinkers, such as Bacon, Hobbes, and Hume. Authors in the third section examine the sources, conditions, and practices of freedom in the context of modern politics, drawing on writers from Shakespeare to Tocqueville to shed light on contemporary debates. The arts of rule cover the exercise of power by princes and popular sovereigns, but they range beyond the domain of government itself, extending to civil associations, political parties, and religious institutions. Artful rule both directs the use of authority toward a specific end and posits a more comprehensive vision of the best way of life for human beings. Making full use of political philosophy and benefiting from a range of backgrounds, this collection recognizes that although the arts of rule are comprehensive, the best government is a limited one.

Two generations of students inspired by Harvey Mansfield come together here to demonstrate how their diverse approaches illuminate the topic of the arts of rule and speak to the wide scope of Mansfield's contributions. The essays collected here cover both ancient and modern ground. The first section covers topics such as Xenophon's question of what it is to be a gentleman, Aristotle's view of friendship, Montaigne's account of the highest good, and Montesquieu's elevation of modesty. The second section engages Machiavelli's political theory and its influence on subsequent thinkers, such as Bacon, Hobbes, and Hume. Authors in the third section examine the sources, conditions, and practices of freedom in the context of modern politics, drawing on writers from Shakespeare to Tocqueville to shed light on contemporary debates. The arts of rule cover the exercise of power by princes and popular sovereigns, but they range beyond the domain of government itself, extending to civil associations, political parties, and religious institutions. Artful rule both directs the use of authority toward a specific end and posits a more comprehensive vision of the best way of life for human beings. Making full use of political philosophy and benefiting from a range of backgrounds, this collection recognizes that although the arts of rule are comprehensive, the best government is a limited one.

Even the most explicitly political contemporary approaches to Shakespeare have been uninterested by his tyrants as such. But for Shakespeare, rather than a historical curiosity or psychological aberration, tyranny is a perpetual political and human problem. Mary Ann McGrail's recovery of the playwright's perspective challenges the grounds of this modern critical silence. She locates Shakespeare's expansive definition of tyranny between the definitions accepted by classical and modern political philosophy. Is tyranny always the worst of all possible political regimes, as Aristotle argues in his Politics? Or is disguised tyranny, as Machiavelli proposes, potentially the best regime possible? These competing conceptions were practiced and debated in Renaissance thought, given expression by such political actors and thinkers as Elizabeth I, James I, Henrie Bullinger, Bodin, and others. McGrail focuses on Shakespeare's exploration of the conflicting and contradictory passions that make up the tyrant and finds that Shakespeare's dramas of tyranny rest somewhere between Aristotle's reticence and Machiavelli's forthrightness. Literature and politics intersect in Tyranny in Shakespeare, which will fascinate students and scholars of both.

Even the most explicitly political contemporary approaches to Shakespeare have been uninterested by his tyrants as such. But for Shakespeare, rather than a historical curiosity or psychological aberration, tyranny is a perpetual political and human problem. Mary Ann McGrail's recovery of the playwright's perspective challenges the grounds of this modern critical silence. She locates Shakespeare's expansive definition of tyranny between the definitions accepted by classical and modern political philosophy. Is tyranny always the worst of all possible political regimes, as Aristotle argues in his Politics? Or is disguised tyranny, as Machiavelli proposes, potentially the best regime possible? These competing conceptions were practiced and debated in Renaissance thought, given expression by such political actors and thinkers as Elizabeth I, James I, Henrie Bullinger, Bodin, and others. McGrail focuses on Shakespeare's exploration of the conflicting and contradictory passions that make up the tyrant and finds that Shakespeare's dramas of tyranny rest somewhere between Aristotle's reticence and Machiavelli's forthrightness. Literature and politics intersect in Tyranny in Shakespeare, which will fascinate students and scholars of both.