Machiavelli needs to be looked at as he really was. Hence:

Can Machiavelli, who makes the following observations, be Machiavellian as we understand the disparaging term?

1. So it is that to know the nature of a people, one need be a Prince; to know the nature of a Prince, one need to be of the people.
2. If a Prince is not given to vices that make him hated, it is unusual for his subjects to show their affection for him.
3. Opportunity made Moses, Cyrus, Romulus, Theseus, and others; their virtue dominated the opportunity, making their homelands noble and happy. Armed prophets win; the disarmed lose.
4. Without faith and religion, man achieves power but not glory.
5. Prominent citizens want to command and oppress; the populace only wants to be free of oppression.
6. A Prince needs a friendly populace; otherwise in diversity there is no hope.
7. A Prince, who rules as a man of valor, avoids disasters.
8. Nations based on mercenary forces will never be solid or secure.
9. Mercenaries are dangerous because of their cowardice
10. There are two ways to fight: one with laws, the other with force. The first is rightly man’s way; the second, the way of beasts.

Praise of Folly, the most popular and lively of all Erasmus's satirical works, is a cheerful pamphlet against what he perceived as the ills of humanity: superstition, fanaticism, ignorance, the violence of the world and power, and false and grotesque science.

Written at the beginning of the 16th century, it delivers a fatal blow to old ideas and concepts, in a world shaken by the winds of the Renaissance.

Praise of Folly starts with a satirical aspect and then takes on a darker tone, in a series of orations. Since folly appreciates self-deprecation, it proceeds to a satirical appreciation of the superstitious abuses of Catholic doctrine and the alleged corrupt practices of the Roman Catholic Church.

The essay concludes with a clear and sometimes moving testament to Christian ideals.

Measure for Measure is among the most passionately discussed of Shakespeare’s plays. In it, a duke temporarily removes himself from governing his city-state, deputizing a member of his administration, Angelo, to enforce the laws more rigorously.

Angelo chooses as his first victim Claudio, condemning him to death because he impregnated Juliet before their marriage. Claudio’s sister Isabella, who is entering a convent, pleads for her brother’s life. Angelo attempts to extort sex from her, but Isabella preserves her chastity.

The duke, in disguise, eavesdrops as she tells her brother about Angelo’s behavior, then offers to ally himself with her against Angelo.

Modern responses to the play show how it can be transformed by its reception in present culture to evoke continuing fascination. To some, the duke (the government) seems meddlesome; to others, he is properly imposing moral standards. Angelo and Isabella’s encounter exemplifies sexual harassment. Others see a woman’s right to control her body in Isabella’s choice between her virginity and her brother’s life.