„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
- Introduction
- Dramatic functions
- Barabas - the descendant of the Vice
- Barabas - the stereotyped Jew
- Barabas - the stage Machiavel
- The stage Machiavel and its origins
- Marlowe and Machiavelli
- Background: the historical Machiavelli and Tudor political thought
- The historical Machiavelli
- Tudor political thought and the Augustinian world view
- "Let them know that I am Machevill" - the prologue to the Jew of Malta
- Background: the historical Machiavelli and Tudor political thought
- Barabas - a Machiavellian figure?
Objectives and Key Themes
This paper aims to analyze the complex character of Barabas in Christopher Marlowe's The Jew of Malta, exploring his dramatic function and relationship to the concept of the stage Machiavel. The analysis considers various interpretations of Barabas, including his roles as a descendant of the Vice figure, a stereotypical Jew, and a Machiavellian character. The paper also investigates the cultural and historical context of Elizabethan England and Machiavelli's influence on Marlowe's work.
- The multiple dramatic functions of Barabas.
- The influence of Machiavellian thought on Elizabethan drama.
- Barabas as a representation of stereotypical figures of the time.
- The ambiguity of genre and interpretation in The Jew of Malta.
- The relationship between text and performance in Elizabethan theatre.
Chapter Summaries
Introduction: This introductory chapter establishes the central problem of interpreting Barabas's character in The Jew of Malta. The play's ambiguous genre and the many conflicting interpretations of Barabas's motivations and actions are highlighted. The chapter introduces the three main interpretations of Barabas's character—as a descendant of the Vice figure, a stereotypical Jew, and a stage Machiavel—and outlines the paper's plan to investigate these interpretations.
Dramatic functions: This chapter delves into the various dramatic functions of Barabas. It explores how his role as the protagonist, despite being a villain, creates a unique dramatic situation. The chapter introduces the concept of the "villain as hero" and discusses the tension between Barabas's villainous actions and his function as a protagonist driving the plot. It sets the stage for a deeper exploration of Barabas's character as a descendant of the morality Vice, a stereotyped Jew, and a stage Machiavel.
Marlowe and Machiavelli: This chapter explores the historical and cultural context surrounding Marlowe's work, examining the life and writings of Niccolò Machiavelli and their influence on Elizabethan thought. It contrasts Machiavelli's ideas with the prevailing Augustinian worldview of Tudor England, providing a crucial backdrop for understanding Marlowe's use of Machiavellian themes. This sets the groundwork for analyzing Marlowe's incorporation of Machiavellian ideas into The Jew of Malta.
Barabas - a Machiavellian figure?: This chapter directly addresses the central question of whether Barabas is a Machiavellian figure. The preceding chapters have prepared the ground for this analysis by exploring different aspects of his character and the cultural background of the play. This chapter will synthesize the previous arguments and offer a reasoned conclusion about the extent to which Barabas embodies Machiavellian traits and serves as a stage Machiavel.
Keywords
Christopher Marlowe, The Jew of Malta, Barabas, stage Machiavel, Elizabethan drama, morality play, Vice figure, stereotypical Jew, Machiavellianism, Tudor political thought, genre ambiguity, dramatic function, protagonist, villain.
Frequently Asked Questions: A Comprehensive Analysis of Barabas in Christopher Marlowe's *The Jew of Malta*
What is the main focus of this academic paper?
This paper provides a comprehensive analysis of Barabas, the central character in Christopher Marlowe's The Jew of Malta. It explores his dramatic function, his relationship to the concept of the "stage Machiavel," and the various interpretations of his character (as a descendant of the Vice figure, a stereotypical Jew, and a Machiavellian character). The analysis also considers the historical and cultural context of Elizabethan England and the influence of Machiavelli's ideas on Marlowe's work.
What are the key themes explored in the paper?
The key themes include the multiple dramatic functions of Barabas, the influence of Machiavellian thought on Elizabethan drama, Barabas as a representation of stereotypical figures of the time, the ambiguity of genre and interpretation in The Jew of Malta, and the relationship between text and performance in Elizabethan theatre.
How is the paper structured?
The paper is structured into four main sections: an introduction outlining the central problem of interpreting Barabas's character; a section exploring Barabas's various dramatic functions; a section examining the historical and cultural context, specifically the influence of Machiavelli on Elizabethan thought; and a concluding section addressing the question of whether Barabas is a Machiavellian figure.
What are the different interpretations of Barabas's character?
The paper explores three main interpretations of Barabas: as a descendant of the Vice figure from morality plays, as a stereotypical representation of a Jew, and as a "stage Machiavel," reflecting the Machiavellian principles of political expediency and amorality.
What is the significance of Machiavelli's influence on the play?
The paper investigates the influence of Niccolò Machiavelli's ideas on Marlowe's work, contrasting Machiavelli's political philosophy with the prevailing Augustinian worldview of Tudor England. It explores how Marlowe incorporates Machiavellian themes into The Jew of Malta and how this shapes the interpretation of Barabas.
What is the role of genre ambiguity in understanding the play?
The paper highlights the ambiguous genre of The Jew of Malta and how this ambiguity contributes to the multiple interpretations of Barabas's character and motivations. The play's genre-bending nature is crucial to understanding the complexities of the character and the play's themes.
What is the overall conclusion regarding Barabas as a Machiavellian figure?
The final chapter synthesizes the arguments presented throughout the paper to offer a reasoned conclusion on the extent to which Barabas embodies Machiavellian traits and functions as a "stage Machiavel." The paper does not offer a simple yes or no answer but a nuanced evaluation based on the preceding analysis.
What keywords best describe the content of this academic paper?
Christopher Marlowe, The Jew of Malta, Barabas, stage Machiavel, Elizabethan drama, morality play, Vice figure, stereotypical Jew, Machiavellianism, Tudor political thought, genre ambiguity, dramatic function, protagonist, villain.
- Quote paper
- M.A. Pia Witzel (Author), 2002, Marlowe and the Stage Machiavel - The Dramatic Function of Barabas in Christopher Marlowe's "The Jew of Malta", Munich, GRIN Verlag, https://www.grin.com/document/171199
