„Marlowe’s Jew of Malta is a most puzzling play“ in different respects. Firstly, there is the question of its genre: It is the one play of Marlowe’s that strains most obviously against its apparent classification as a tragedy. Secondly, there are many different readings of the play. Is The Jew of Malta analogically a “serious farce”, a “comedy of evil”, a “tragic farce”or plainly an “ambiguous sort of drama”?3 Furthermore, a question which has often been raised, is, whether the text we have today is corrupt, and if it was written by someone else from the second act onwards. The reason behind all those questions and the play’s ambiguity seems to be the protagonist Barabas. His character, one could argue, is not easy to analyze, nor is his motivation or disposition, as this is what was the focus of analysis in the past. The difficulty in explaining this character might result from different common suggestions what “kind of protagonist” he is or what his dramatic function might be respectively. Thus Barabas is a conglomerate of stereotypes - as Jew, devil, Machiavel, and a dramatic persona fulfilling different narrative and conventional functions - as villain, Vice and protagonist, etc. The three most frequent characterizations are to be considered: the Vice figure, the stereotyped Jew and the stage Machiavel. While the Vice and the stereotyped Jewishness are often mentioned merely as aspects of Barabas’s character, the Machiavellian is the most common and distinctive interpretation. For the sake of completeness the aspect of Machiavellianism is discussed very briefly in chapter 2, but a more detailed discussion of the topic follows in part 3 and 4 of this paper. It will be analyzed in the following respects: the stage Machiavel, Marlowe’s use of Machiavelli as a dramatis persona in the prologue, and the influence of Machiavelli’s writings on The Jew of Malta respectively. A closer examination of the cultural background of Elizabethan thought and the life and works of the person Niccoló Machiavelli has to precede these considerations. A literary work is always part of its cultural background, and it is at least debatable whether it is valid to apply today’s standards to a drama written in Elizabethan times.A textual analysis of the prologue which I regard as being essential for my argument will follow this necessary consideration of the background.
Table of Contents
1. Introduction
2. Dramatic functions
2.1 Barabas - the descendant of the Vice
2.2 Barabas - the stereotyped Jew
2.3 Barabas - the stage Machiavel
2.3.1 The stage Machiavel and its origins
3. Marlowe and Machiavelli
3.1 Background - the historical Machiavelli and Tudor political thought
3.1.1 The historical Machiavelli
3.1.2 Tudor political thought and the Augustinian world view
3.2 “Let them know that I am Machevill” - the prologue to the Jew of Malta
4. Barabas - a Machiavellian figure?
5. Conclusion
6. Works Cited
Research Objectives and Core Themes
This paper examines the dramatic function and characterization of Barabas in Christopher Marlowe's "The Jew of Malta," specifically analyzing the interplay between his representation as a Vice figure, a stereotyped Jew, and a stage Machiavel, while questioning his alignment with true Machiavellian philosophy.
- Analysis of Barabas as a conglomerate of literary stereotypes.
- Evaluation of the historical Machiavelli versus the Elizabethan "stage Machiavel."
- Examination of the political and religious context of Tudor society and the Augustinian world view.
- Investigation into Marlowe's use of dramatic irony and audience manipulation.
- Critique of the discrepancy between theory and practice in the play's political landscape.
Excerpt from the Book
2.1 Barabas - the descendant of the Vice
One of the interpretations of Barabas’s character is that he should be understood as a descendant of the Vice figure, a type of character familiar from morality plays. The morality play was a kind of poetic drama which developed in the late Middle Ages (probably late fourteenth century), in which the abstract virtues and vices appear in personified form, the good and the bad usually being engaged in a struggle for the soul of a human being. The later morality is said to be superior dramatically because of its independence and greater concreteness and realism. The Vice was a stock character in the morality play, a tempter who was both sinister and comic.
The characteristics of the Vice are the following: - His name reveals his villainy: A deeper significance seems to lie in the choice of Barabas’ name, for Barabas was the criminal whom the Jews preferred to Jesus, when Pilate offered to release a prisoner. This is not only a hint at his villainy, but of course also at his Jewishness. Hence his name has a certain negative connotation, yet it is not as eloquent as names like “Avarice”, “Folly” or “Riot” which was common in the moralities. - The Vice of the morality play reveals himself as the villain to the audience. - The Vice talks of his deeds and exhibits satisfaction at the result of his actions. The expression of Barabas’ villainy seems to be drawn from the tradition of the morality play and the self-demonstrative nature of the morality Vice; in the manner of the Vice he takes extraordinary satisfaction in his deeds of villainy, delighting enormously in the virtuosity of his evil. His meeting with Ithamore brings out the demonstrative manner of the Vice in full force.
Summary of Chapters
1. Introduction: Presents the ambiguity of "The Jew of Malta" and outlines the intent to investigate the characterization of Barabas.
2. Dramatic functions: Explores Barabas as a protagonist who simultaneously functions as a Vice figure, a stereotyped Jew, and a stage Machiavel.
3. Marlowe and Machiavelli: Contextualizes Machiavelli’s historical theories and the Elizabethan political environment, including a textual analysis of the play's prologue.
4. Barabas - a Machiavellian figure?: Argues that while Barabas uses the terminology of policy, his actions are distinct from the true Machiavellianism exhibited by other characters like Ferneze.
5. Conclusion: Synthesizes findings on Barabas’s status as a non-naturalistic character and reaffirms Marlowe’s critique of the Augustinian world view.
6. Works Cited: Lists the academic literature and primary references consulted during the research.
Keywords
Christopher Marlowe, The Jew of Malta, Barabas, Machiavel, Machiavelli, Vice figure, Elizabethan drama, Tudor political thought, Augustinian world view, Realpolitik, Anti-Semitism, Stereotypes, Dramatic function, Villain-hero, Religious hypocrisy.
Frequently Asked Questions
What is the primary subject of this research paper?
The paper focuses on the dramatic functions and characterization of the protagonist Barabas in Christopher Marlowe's play "The Jew of Malta."
What are the main thematic areas covered?
Key areas include the exploration of literary stereotypes (Vice figure, Jew, Machiavel), the historical context of Machiavellian philosophy, and the influence of Tudor political and religious thought on drama.
What is the central research question?
The paper investigates whether Barabas is truly a Machiavellian figure or if he is intended to function as a grotesque caricature used by Marlowe to expose the hypocrisy of other characters.
Which scientific methodology is employed?
The author uses a literary analysis approach, examining both the textual structure of the play and its cultural/historical context, supported by scholarly critique.
What does the main body of the work address?
It provides a detailed breakdown of Barabas’s dramatic roles, a background study of Niccolò Machiavelli, an analysis of the play's prologue, and a comparison between Barabas and the "real" Machiavellianism of the governor Ferneze.
How is the paper characterized by its keywords?
The keywords highlight the intersection of dramatic literature, political philosophy, religious historical context, and the study of character archetypes in Elizabethan theatre.
How does the play compare to Shakespeare’s "The Merchant of Venice"?
The paper notes that both plays deal with Jewish stereotypes, but argues that Barabas is a more deliberately non-naturalistic, farcical construction compared to the more humanized portrayal of Shylock.
What is the significance of the "Prologue" to "The Jew of Malta"?
The prologue, delivered by a character representing the spirit of Machiavelli, is identified as a crucial device for setting the audience's expectations and framing the irony that pervades the entire play.
- Arbeit zitieren
- M.A. Pia Witzel (Autor:in), 2002, Marlowe and the Stage Machiavel - The Dramatic Function of Barabas in Christopher Marlowe's "The Jew of Malta", München, GRIN Verlag, https://www.hausarbeiten.de/document/171199
