第3章 THE STATE AS A WORK OF ART(3)(1 / 3)

No prince was more famous in this respect than the ruler of Verona, Can Grande della Scala, who numbered among the illustrious exiles whom he entertained at his court representatives of the whole of Italy.The men of letters were not ungrateful.Petrarch, whose visits at the courts of such men have been so severely censured, sketched an ideal picture of a prince of the fourteenth century.He demands great things from his patron, the lord of Padua, but in a manner which shows that he holds him capable of them.'Thou must not be the master but the father of thy subjects, and must love them as thy children; yea, as members of thy body.Weapons, guards, and soldiers thou mayest employ against the enemy---with thy subjects goodwill is sufficient.By citizens, of course, I mean those who love the existing order; for those who daily desire change are rebels and traitors, and against such a stern justice may take its course.'

Here follows, worked out in detail, the purely modern fiction of the omnipotence of the State.The prince is to take everything into his charge, to maintain and restore churches and public buildings, to keep up the municipal police, to drain the marshes, to look after the supply of wine and corn; so to distribute the taxes that the people can recognize their necessity; he is to support the sick and the helpless, and to give his protection and society to distinguished scholars, on whom his fame in after ages will depend.

But whatever might be the brighter sides of the system, and the merits of individual rulers, yet the men of the fourteenth century were not without a more or less distinct consciousness of the brief and uncertain tenure of most of these despotisms.Inasmuch as political institutions like these are naturally secure in proportion to the size of the territory in which they exist, the larger principalities were constantly tempted to swallow up the smaller.Whole hecatombs of petty rulers were sacrificed at this time to the Visconti alone.As a result of this outward danger an inward ferment was in ceaseless activity; and the effect of the situation on the character of the ruler was generally of the most sinister kind.Absolute power, with its temptations to luxury and unbridled selfishness, and the perils to which he was exposed from enemies and conspirators, turned him almost inevitably into a tyrant in the worst sense of the word.Well for him if he could trust his nearest relations! But where all was illegitimate, there could be no regular law of inheritance, either with regard to the succession or to the division of the ruler's property; and consequently the heir, if incompetent or a minor, was liable in the interest of the family itself to be supplanted by an uncle or cousin of more resolute character.The acknowledgment or exclusion of the bastards was a fruitful source of contest and most of these families in consequence were plagued with a crowd of discontented and vindictive kinsmen.This circumstance gave rise to continual outbreaks of treason and to frightful scenes of domestic bloodshed.Sometimes the pretenders lived abroad in exile, like the Visconti, who practiced the fisherman's craft on the Lake of Garda, viewed the situation with patient indifference.