Statements (55)
| Predicate | Object |
|---|---|
| gptkbp:instance_of |
gptkb:play
|
| gptkbp:bfsLayer |
4
|
| gptkbp:bfsParent |
gptkb:Machiavelli
|
| gptkbp:adaptation |
gptkb:opera
gptkb:film translated into multiple languages. |
| gptkbp:author |
gptkb:Niccolò_Machiavelli
|
| gptkbp:critical_reception |
studied in literature courses.
well-received in its time. |
| gptkbp:cultural_impact |
influenced literature
influenced modern political thought influenced theatre |
| gptkbp:cultural_significance |
examines human nature.
questions morality. reflects Renaissance values. |
| gptkbp:first_performance |
1518
|
| gptkbp:genre |
gptkb:musical
|
| gptkbp:historical_context |
reflects societal norms of the time.
addresses issues of power and control. written during the Italian Renaissance. |
| https://www.w3.org/2000/01/rdf-schema#label |
Machiavelli's The Mandrake
|
| gptkbp:influence |
gptkb:Italian_Renaissance_theatre
|
| gptkbp:influenced |
subsequent playwrights.
modern comedies. |
| gptkbp:inspired_by |
Roman comedies.
|
| gptkbp:language |
gptkb:Italian
|
| gptkbp:main_character |
gptkb:Lucrezia
Callimaco Nicia |
| gptkbp:notable_performance |
performed at major festivals.
adapted for television. performed by renowned theatre companies. |
| gptkbp:notable_quote |
“ The end justifies the means.”
|
| gptkbp:official_language |
gptkb:Italian
|
| gptkbp:performance |
performed in various theatres.
|
| gptkbp:plot |
Explores themes of love and deception.
A man uses trickery to win the love of a woman. Involves a potion. culminates in a twist ending. features comedic misunderstandings. involves a clever ruse. |
| gptkbp:published_by |
gptkb:Florence
1520 |
| gptkbp:role |
Callimaco is a schemer.
Lucrezia is the object of desire. Lucrezia represents the object of desire. Nicia is the husband. Nicia represents the foolish husband. The character of Callimaco represents cunning. |
| gptkbp:setting |
gptkb:Florence
|
| gptkbp:style |
satirical.
farce. |
| gptkbp:theme |
gptkb:military_operation
love manipulation |