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Ryan Holidays’ foreword ignites a deep desire to delve into the meditation of Marcus Aurelius. He insists upon the fact that, solely because of, Marcus’s specificity his meditations are universal across both culture and time. I am looking forward to finally stating meditations!

Boucheron expands upon Machiavelli’s theatrical nature with an overview of his works as a playwright and romantic life. I find it important to note that such a dramatic and theatrical (for lack of a better word) method of writing changes how Machiavelli is read

The author unfolds the events leading to many of Machiavelli’s works, but primarily his most notorious, The Prince. This build up of Machiavelli’s certainties and anxieties, the patriotic nature he holds contradicted by his betrayed loved for his state and people, Boucheron unfolds his story very well.

The prelude and opening sections of this book outlines the tone and expectations well. It is clear from the start that Machiavelli and the ‘Machiavellian’ state of being are separate beings. Boucheron does a great job of laying out the theatrics of Machiavelli’s ideology, and ultimately, how his philosophies got corrupted with individuals who took the anti-Machiavelli stance