The Jew of Malta is often amusing and it would be possible to regard it simply as a brilliant theatrical entertainment intended to make one laugh rather than think. The problem here is to maintain the right balance of the “ludicrous” and the “terrible”. T.S.Eliot was aware of this problem. Even though he preferred to classify the play as a farce rather than as a tragedy, he was careful to emphasise that its humour was “terribly serious”. According to Bawcutt, the Jew of Malta is a harsh and disturbing comedy, near to ridicule, not the cheerful laughter which relaxes and heals. It should not distract one from the play´s seriousness, but intensify it, by making us aware of the ludicrous instability of our attitudes and the absurdity of our pretensions to moral superiority. The play may seem at times a parody of normal human behaviour; even so, it is the kind of parody that is uncomfortably close to reality. (Bawcutt 1978:36).
Several asides in the main plot of The Jew of Malta assume comic function and devices of double entendre (double meaning) are applied. Several asides are unspoken thoughts of a character or confidentially and silently uttered messages addressed to another character, but most of the asides are examples of dramatic irony, in the way that they reveal the innermost thoughts of the characters in contrast to what they actually say. They may reveal doubledealing and the hypocrisy in this way but sometimes also the true honesty and virtue of a speaker. (cf. Abigail, III.iii). They also may function as a dramatic device to raise suspense, anticipating a forthcoming event, such as for example murder or intrigue. An example of this can be found in II.iii when Barabas is talking to Lodowik: “The diamond that I talk of, ne´er was foiled”. The diamond will be foiled though when he touches it. Another example can be found in Act I.ii, when Barabas and Abigail are preparing for the retrieval of gold and money from their former home, now confiscated by the governor and turned into a nunnery.
Table of Contents
1. Farcical elements
2. Symbolical elements
2.1. Gold
2.2. Barabas´s nose
3. The relationship between Christians and Jews in the Renaissance and Anti-Christian elements in The Jew of Malta
4. Anti-Muslim elements in The Jew of Malta
4.1. Literary representation of Turks” in Renaissance England
4.2. Characterization of Muslim characters in The Jew of Malta
5. Dramatic technique
Objectives and Themes
This paper examines Christopher Marlowe's play "The Jew of Malta" through an analysis of its satirical, symbolic, and dramatic components, specifically focusing on how the work reflects and manipulates contemporary attitudes toward religion and identity during the Renaissance.
- The use of farcical elements and dark humor to critique social and clerical corruption.
- The symbolic significance of objects and physical traits, such as gold and Barabas's nose, in defining characters.
- The portrayal of the relationship between Christians, Jews, and Turks as a reflection of Renaissance political and religious tensions.
- An analysis of Marlowe's dramatic techniques, including the use of asides, soliloquies, and rhetorical devices.
Excerpt from the Book
1. Farcical elements in The Jew of Malta
The Jew of Malta is often amusing and it would be possible to regard it simply as a brilliant theatrical entertainment intended to make one laugh rather than think. The problem here is to maintain the right balance of the “ludicrous” and the “terrible”. T.S.Eliot was aware of this problem. Even though he preferred to classify the play as a farce rather than as a tragedy, he was careful to emphasise that its humour was “terribly serious”. According to Bawcutt, the Jew of Malta is a harsh and disturbing comedy, near to ridicule, not the cheerful laughter which relaxes and heals. It should not distract one from the play´s seriousness, but intensify it, by making us aware of the ludicrous instability of our attitudes and the absurdity of our pretensions to moral superiority. The play may seem at times a parody of normal human behaviour; even so, it is the kind of parody that is uncomfortably close to reality. (Bawcutt 1978:36).
Several asides in the main plot of The Jew of Malta assume comic function and devices of double entendre (double meaning) are applied. Several asides are unspoken thoughts of a character or confidentially and silently uttered messages addressed to another character, but most of the asides are examples of dramatic irony, in the way that they reveal the innermost thoughts of the characters in contrast to what they actually say. They may reveal double-dealing and the hypocrisy in this way but sometimes also the true honesty and virtue of a speaker. (cf. Abigail, III.iii). They also may function as a dramatic device to raise suspense, anticipating a forthcoming event, such as for example murder or intrigue.
Summary of Chapters
1. Farcical elements: This chapter explores how Marlowe balances the ludicrous and the terrible to create a harsh, disturbing comedy that critiques human behavior.
2. Symbolical elements: This section analyzes key symbols like gold and Barabas’s nose, illustrating how they serve as satirical markers of identity and greed.
3. The relationship between Christians and Jews in the Renaissance and Anti-Christian elements in The Jew of Malta: This chapter examines the historical context of persecution and how the play reverses traditional roles to present a critique of institutional Christianity.
4. Anti-Muslim elements in The Jew of Malta: This section investigates the literary representation of Turks in the Renaissance and how the play constructs the "other" to navigate political and religious anxieties.
5. Dramatic technique: This chapter provides an analysis of Marlowe’s stylistic choices, focusing on his use of soliloquies, asides, rhetorical figures, and blank verse to enhance the play's dramatic impact.
Keywords
The Jew of Malta, Christopher Marlowe, Renaissance drama, Barabas, Farcical elements, Symbolism, Anti-Semitism, Anti-Christianity, Anti-Muslim, Machiavellian, Dramatic irony, Elizabethan theater, Religious hypocrisy, Turks, Power.
Frequently Asked Questions
What is the primary focus of this paper?
This paper focuses on the dramatic and thematic construction of Christopher Marlowe's "The Jew of Malta," specifically analyzing its satirical use of farce, symbolism, and its portrayal of religious conflict.
What are the main thematic areas discussed?
The main themes include the depiction of Jewish, Christian, and Muslim figures, the critique of religious hypocrisy, the role of wealth and power, and the historical context of the Renaissance.
What is the ultimate goal of the research?
The goal is to demonstrate how Marlowe utilized specific dramatic devices and symbols to engage with the political and religious anxieties of his time.
Which scientific methodology is applied?
The work employs a literary analysis methodology, utilizing close reading of the text supported by secondary critical sources and historical context from the Elizabethan era.
What is covered in the main body of the work?
The main body covers the analysis of farcical and symbolic elements, the representation of religious and ethnic tensions, and a detailed stylistic evaluation of Marlowe’s dramatic techniques.
Which keywords best characterize this work?
The work is characterized by terms such as Marlowe, The Jew of Malta, Renaissance drama, religious satire, and identity construction.
How does the play treat the character of Barabas in relation to his nose?
The play uses the nose of Barabas as an unconventional symbol to play upon Jewish stereotypes, connecting his physical feature to a perceived "nose for crime" in the eyes of other characters like Ithamore.
Why does the author argue that the play functions as anti-Catholic satire?
The author argues that by presenting Christians as hypocritical Machiavellians and using the political background of the 1580s and 1590s, Marlowe was able to present a work critical of Catholicism while adhering to the sensibilities of a Protestant English audience.
- Arbeit zitieren
- Bachelor Katharina Eder (Autor:in), 2007, T. S. Eliot, The Jew of Malta: Farcical and symbolical elements, anti-christian elements, anti-muslim elements, dramatic technique, München, GRIN Verlag, https://www.hausarbeiten.de/document/171967
