Powerful individuals who commit evil acts do not regard their actions or themselves as evil. Evil should be employed to qualify acts of persons rather than their character. This distinct change would allow individuals to abstain from the foundational interpretation of evil and, hence, analyse the evil acts in their contexts and effectively distinguish their inherent characteristics and motivation. ‘The Prince’ by Niccolò Machiavelli promotes the incentive of evil only when deemed necessary for the state’s preservation and glorification. This recognition of evil is not only carried on due to the evil-doer’s own self-interest, but for the greater good. Meanwhile, ‘The Laboratory’ by Robert Browning portrays a psychopathic woman that displays a disturbing look at the concept of madness in the nineteenth-century context. Although a corrupted character with evil intention is perceived at first glance, the degree of understanding and sympathy is manifested as a result of the provocation of their actions. Lastly, ‘X-Men Last Class’ directed by Matthew Vaughn presents a vengeful character with a depressing backstory that allows the readers to fathom out the reason behind his actions. From 16th century political treatise to modern day films, the evil acts committed by powerful individuals certainly does not make them evil overall.
The idea that powerful individuals may commit evil acts without necessarily being evil themselves is unequivocally displayed through Machiavelli’s ‘The Prince.’ In ‘The Prince,’ Machiavelli discusses the ideal pathway to effective leadership through a combination of guiding principles such as deceitfulness, authority over violence and fear of subjects. One of the most prominent details of the work is the significant argument that cruelty is a necessity in ensuring the prosperity of one’s state, even when what is necessary involves acting that is markedly viewed as immoral. Throughout the text, Machiavelli makes numerous declarations about effectual rulership that may be seen to the readers unessentially tyrannical and merciless. Because of this, the term “Machiavellian” has been correlated to means of evil behaviour in the contemporary world. Machiavelli states, “It is far better to be feared than loved if you cannot be both.” Thus, the central idea of Machiavelli’s explanation regarding cruelty and sympathy is dependent on the perspective of human nature. According to Machiavelli, humans are prompt by an aspiration to diminish danger and maximize satisfaction to themselves. As such, he believes that humans will likely harm someone if they do not harm them back in return. On the other hand, being excessively sympathetic to people will lead them to presume the prince will not harm them at all. This set of circumstances is one that a prince must avoid in order to maintain glory. Furthermore, Machiavelli provides historical allusions with references to Cesare Borgia and his father, Pope Alexander VI as prime examples of how and when cruelty was used successfully. The theme of ‘Lessons of History’ proclaims that an effective leader should replicate previous successors who had achieved greatness and ruled prosperously. Additionally, Machiavelli urges princes to “learn from the fox and the lion; because the lion is defenceless against traps and a fox is defenceless against wolves.” Within this analogy and metaphor, Machiavelli addresses the crucial balance of an image. He gauges how necessary it is to utilize exceptional means with the guidance of political morality that aims for the greater good. Therefore, ‘The Prince’ reflects how individuals who commit evil acts do not reveal their immorality as a character overall but instead convey their effort for the greater good, suggesting Machiavelli’s adherence to power and morality.
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Robert Browning’s ‘The Laboratory,’ tackles the momentous subject of madness and the darkness of human nature in a psychological monologue that not only reveals the moral insanity of characters, but also the understanding and justification of their evil acts. The term ‘madness’ has evolved throughout history. Browning introduces a psychologically disturbed character that exhibits a captivating take on the concept of madness that is established in the nineteenth-century context. The poem exemplifies the Victorian fascination of human individuality and subconscious. Browning depicts a female persona working with an apothecary who is formulating a poison that she is intending to use to kill her rivals in love. The persona states, “Where they are, what they do: they believe my tears flow/While they laugh, laugh at me, at me fled to the drear.” Consequently, the statement demonstrates the idea that the lover and his paramour being sympathetic towards her and her discerning them being joyous makes her demented. Browning paints an image of a betrayed woman who descents into insanity. The idea of insanity is effectively shown through Browning’s authorial methods such as the use of alliteration and plosive sounds that reinforces the persona’s obsessive idea of killing. “Grind away, moisten and mash up thy past, /Pound at thy powder,” produces a rhythmic pattern that resonates a witchlike cry. Furthermore, the determination of her killing her rivals elicits an anxious tone. The desperation of the persona and the intentness of getting the poison emphasizes the significant theme of revenge. The depth of her agony and wretchedness could have the readers commiserate with her to some extent. Despite her evil intentions that can be associated with depravity, her depletion of self-discipline and the excessiveness of her barbarousness causes her criminality debatable. In similar fashion to ‘The Prince,’ the monstrous immoral actions that are acted upon individuals have motivation and reasoning behind it. Hence, ‘The Laboratory’ is an exceptional example that reveals the morality and power of the poem that individuals are not necessarily evil when they commit evil acts.
The psychology of Erik Lensherr in ‘X-Men First Class’ demonstrates his consequential drive towards rectifying the world through immoral practices that do not necessarily make the character evil inclusively. Throughout the film, Erik teeters on his optimism that mutants are exclusively superior and are treated as the next stage of human evolution. However, due to his history of trauma, Erik’s perspective and intentions were made very clear to the audience. The film uses a flashback to not only elaborate Erik’s backstory, but also have the audience witness his path of righteousness and his transformation into the vengeance-driven Magneto. The disturbing scene of his parents’ death at the hands of a Nazi effectively makes the viewers sympathize with him and root for Erik throughout the film. In addition, the close-up shots of Nazis wrestling Erik into the ground depict a broken man that has lost a sense of meaning and purpose in his life, a man for whom “peace was never an option.” In one of the most powerful sequences in the film, Erik states, “The real enemy is out there. Humans.” For much of his excruciating life, Erik found a sense of purpose in demolishing those who harm him. The statement, “I’ve been at mercy of men just following orders. Never again,” effectively echoes Erik’s past and making the Magneto archetype far more pragmatic and practical when dealing with human flaws. Identical to ‘The Prince,’ Magneto is ‘Machiavellian’ in nature. He is nor a hero or villain as his objective is to simply protect his kind at all cost even when what is necessary requires acts that are considered to be evil. While his tactics and schemes are completely abominable, his purpose could be interpreted as virtuous. Furthermore, ‘The Laboratory’ has similarities to ‘X-Men First Class’ as individuals in both texts undergo suffering on personal levels that makes the readers understand their extremism and motivation. Thus, Erik Lensherr in ‘X-Men First Class,’ explores the transformation from a tortured child to the villainous Magneto who is not inevitably evil due to the sorrowful origins that shaped his view of the world.
Individuals who commit evil acts do not consider their actions or their themselves as evil. To understand their viewpoint is to apprehend their motivations that limits their evilness. ‘The Prince,’ ‘The Laboratory’ and ‘X-Men First Class’ exhibit powerful figures who commit evil acts that do not necessarily mean they are evil. The term ‘evil’ should be used to describe the acts performed rather than the character. By doing this, the fundamental characteristics and motivation of characters can be analysed. As a result, the statement that powerful individuals may commit evil acts without necessarily being evil themselves is accurate.
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