Othello, himself states “that thou be’st a devil, I cannot kill thee.” He then stabs Iago but only wounds him, showing that he thinks that Iago is the devil. In Elizabethan society he could be labeled a demon, or influenced by the devil if not the devil himself. Even if he is only a sociopath, there are many similarities between sociopaths and devilish doings. Poet Samuel Taylor Coleridge ( 1772-1834)saw Iago’s worst side and writes “a being next to the devil, only not quite the devil” He calls Iago’s behavior “motiveless malignity”. A trait that stands out is Iago’s ability to think out and plot what seemingly will be a perfect plan.
There can be no doubt that Heathcliff is fiendish in his actions in “Wuthering Heights”. The question is whether or not Heathcliff was inherently demonic, before even having been found on the streets of Liverpool, or whether this is due to social prejudices he fell victim to. To consider this question, the meaning of fiend must be considered: is Heathcliff the fiend literally a supernatural being born from hell, or someone who is evil and causes havoc. Also, the potential bias in descriptions of Heathcliff from other characters may cloud a reader’s judgement of him. Emily Bronte’s description of Heathcliff, from the opening of the book, is immediately negative.
Postulating that indifference is a dangerous road, he wants the reader to understand that indifference can have unintended consequences that will eventually lead to atrocities. He starts putting the reader into this mind set by asking, “ what will the legacy of this vanishing century be?” (Wiesel 533). Wiesel wants to engulf the reader in a cone of tumultuous emotions so that they may be cautious and vigilant against the evils of irrelevance. He provides many examples of how indifference is dangerous and how indifference can bring about the demise of civilized society. The capacity for society to revert back into accepting atrocities is why Wiesel’s formulates his speech to caution the audience.
Hence to state, Macbeth personifies anything and everything evil, against the belief of him succumbing that of a tragic hero. One of the defining features that make Macbeth purely evil is his confrontation with it. When the witches first appear in Act 1 of the play, Macbeth voluntarily confronts them, complying with evil in the very beginning. “They [the witches] do not, however, suggest evil to man…for the impulse to evil must come from within man himself.” (Ribner 47). This is the first sign of him owning demonic tendencies, when he allows the evil from within, transform from superego to conscience.
It could be that he has damaged himself so that he is unable to feel empathy for others - or that the evil is innate. Macbeth displays some very evil characteristics - selfishness, coldness, obsession and cold-blooded murder. Shakespeare explores the degree to which he alone is responsible, and how far others contribute to Macbeth is perhaps Shakespeare's greatest exploration of the problem of evil. Evil is positioned both within and without. The witches are objective figures but Macbeth's first utterance in act 1, scene 3 suggests that he shares a similar thought with the witches.
DOCTOR FAUSTUS AS A MORALITY PLAY Doctor Faustus has many features of a morality play: the conflict between good and evil, the creation of Good and Bad Angels, the Old Man as Good Counsel, the pageant of the Seven Deadly Sins and the appearance of Faustus’ enemies to ambush and kill him. The conflict between Good and Evil was a recurring theme in the medieval morality plays. From this point of view, Marlowe’s play is a dramatization of the medieval morality play, Everyman. Doctor Faustus becomes a morality play in which heaven struggles for the soul of a Renaissance Everyman, namely Doctor Faustus. The Good Angel and the Bad Angel are characters derived from the medieval morality plays like The Castle of Perseverance.
After all, Satan stands for all that corrupts the human world, he is humanity’s adversary, the manifestation of evil. However, the portrayal of Satan’s actions and demeanour in the text makes comparison with the traditional epic heroes viable, at least from a technical perspective. What defines an epic hero? An epic hero could be a distinguished warrior or a leader but more importantly an eloquent speaker who can influence greatly by the means of his address. He undertakes a quest, embarks on a perilous journey which tests his endurance, courage and cunning.
The narrator describes Claggart by stating, “his complexion…though it was not exactly displeasing, nevertheless seemed to hint something defective or abnormal in the constitution and blood” (qtd. in Smith). Smith helps explain that it’s not hard to tell that Claggart is evil because his appearance signals the other characters and reader about his evil nature. Typically, people relate outward appearance to inward characteristics, motives, and values, such as in Claggart’s case. Claggart’s evil-minded nature with “something defective or abnormal in the constitution and blood,” has always been present to destroy the plan of
However, in Faustus' case it is disobedient to become too learned. Also, the line " heavens conspired his overthrow" could be a reference to Lucifer's attempt to overpower God. Thus, the Chorus would ultimately be making reference to Faustus attempting to outwit God. This is the contrast between Medieval and Renaissance values; the medieval world shunned all that was not Christian while the Renaissance was a re- birth of learning in which people openly questioned divinity as with much more. The chorus makes it seem that Faustus is a 'bad' man because