The Absolute Evil of Iago in Othello What marks consummate villainy is the willingness to be absolutely evil-to have no qualms about being diabolical and no strains of human morality. Because feeling for another leads one to experience guilt, even an iota of empathy is a character flaw that will lead to the downfall of a villain. To succeed, the villain needs to emulate the character Iago in Othello, who consistently works his evil throughout the whole play and does not slip until the end, when there is simply no way he can turn the situation to his advantage. Iago is a model for the ultimate villain because he operates on a self-styled level of morality, such that he never doubts his actions, however diabolical the actions seem to the audience. The rational person is capable of this emulation, for rationality is the ability to reason out a new and yet coherent order: a new order of values and beliefs that constitute his own system of mores. Convinced of this self-devised system, the villain is able to convincingly impose it upon others and therefore, to manipulate them towards advancing his cause. Reason also empowers the villain with an aptitude for discerning an order in the midst of chaos and turning adversity into good fortune. With a self-defined strand of logic and reasoning, the villain fashions a code of 'ethics' and 'morality' fitting to his purposes, which makes his malice tolerable to him. The rational mind can utilise logic and reasoning to arrange values and beliefs in an order that is credible, and therefore irrefutable to the self. Reasonable, therefore believable and irrefutable-this customised moral code is convincing, and from this conviction, the villain will not be bothered by the morality ... ... middle of paper ... ..., Inc., n. d. Fergusson, Francis. "Macbeth as the Imitation of an Action." Shakespeare: The Tragedies. A Collectiion of Critical Essays. Alfred Harbage, ed. Englewwod Cliffs, NJ: Prentice-Hall, Inc., 1964. Frye, Northrop. Fools of Time: Studies in Shakespearean Tragedy. Toronto, Canada: University of Toronto Press, 1967. Greenblatt, Stephen. "Introduction to Macbeth." The Norton Shakespeare. New York: Norton, 1997. 2555-63. Knights, L.C. "Macbeth." Shakespeare: The Tragedies. A Collectiion of Critical Essays. Alfred Harbage, ed. Englewwod Cliffs, NJ: Prentice-Hall, Inc., 1964. Lamb, Charles. On the Tragedies of Shakespeare. N.p.: n.p.. 1811. Rpt in Shakespearean Tragedy. Bratchell, D. F. New York, NY: Routledge, 1990. Mack, Maynard. Everybody's Shakespeare: Reflections Chiefly on the Tragedies. Lincoln, NB: University of Nebraska Press, 1993.
Foakes, Francis. "A New Perspective of Macbeth." Readings on Macbeth. Ed. Clarice Swisher. San Diego: Greenhaven Press, Inc., 1999. 58-64.
Shakespeare, William. Tragedy of Macbeth . Ed. Barbara Mowat and Paul Warstine. New York: Washington Press, 1992.
Mack, Maynard. Everybody’s Shakespeare: Reflections Chiefly on the Tragedies. Lincoln, NB: University of Nebraska Press, 1993.
...Shakespeare’s Tragedies.” Readings on The Tragedies. Ed. Clarice Swisher. San Diego: Greenhaven Press, 1996. Rpt. from Shakespeare’s Women. N.p.: n.p., 1981.
Mack, Maynard. Everybody’s Shakespeare: Reflections Chiefly on the Tragedies. Lincoln, NB: University of Nebraska Press, 1993.
Shakespeare, William. Tragedy of Macbeth . Ed. Barbara Mowat and Paul Warstine. New York: Washington Press, 1992.
Mack, Maynard. Everybody’s Shakespeare: Reflections Chiefly on the Tragedies. Lincoln, NB: University of Nebraska Press, 1993.
Dutton, R., & Howard, J.E. (2003). A Companion to Shakespeare’s Works.(p. 9) Maiden, MA: Blackwell Pub.
Shakespeare, William. Macbeth. Ed. Barbara A. Mowat and Paul Werstine. New York: Washington Square Press New Folger Edition, 1992
Bradley, A.C.. Shakespearean Tragedy: Lectures on Hamlet, Othello, King Lear and Macbeth. New York: Penguin Books, 1991.
Cohen, Walter, J.E. Howard, K. Eisaman Maus. The Norton Shakespeare. Vol. 2 Stephen Greenblatt, General Editor. New York, London. 2008. ISBN 978-0-393-92991-1
In "Macbeth as the Imitation of an Action" Francis Fergusson states the place of Macbeth's ambition in the action of the play:
As with all great works of literature, William Shakespeare’s Macbeth has spawned countless essays concerning its interpretation. Two such essays, “Shakespearean Tragedy” and “General Macbeth,” produced by two eminent literary critics, A.C. Bradley and Mary McCarthy, find themselves in conflict. The essays’ respective authors diverge on subjective points such as interpretation of character, original intent, and meaning. Bradley’s Macbeth is courageous and encumbered by the dregs of guilt, while McCarthy’s version takes a less orthodox path.
Clark, W. G. and Wright, W. Aldis , ed. The Complete Works of William Shakespeare. Vol. 1. New York: Nelson-Doubleday
Hunter, G.K. "Shakespeare and the Traditions of Tragedy." Wells, Stanley, ed. The Cambridge Companion to Shakespeare Studies. Cambridge: Cambridge UP, 1994.