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The Jew of Malta
The Jew of Malta
The Jew of Malta
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The Jew of Malta

Rating: 3.5 out of 5 stars

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LanguageEnglish
Release dateJan 1, 1967
Author

Christopher Marlowe

Christopher Marlowe (1564-1593) was a 16th century playwright, poet, and translator. Considered to be the most famous playwright in the Elizabethan era, Marlowe is believed to have inspired major artists such as Shakespeare. Marlowe was known for his dramatic works that often depicted extreme displays of violence, catering to his audience’s desires. Surrounded by mystery and speculation, Marlowe’s own life was as dramatic and exciting as his plays. Historians are still puzzled by the man, conflicted by rumors that he was a spy, questions about his sexuality, and suspicions regarding his death.

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Rating: 3.6368421094736845 out of 5 stars
3.5/5

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  • Rating: 5 out of 5 stars
    5/5
    Composed probably in 1589 this play accredited to Christopher Marlowe was a big hit on the Elizabethan stage. It is not difficult to see why it was so popular as it would have appealed to theatre goers on many levels and reading it today I found the underlying subversiveness of the text intriguing and led me to wonder how much of Marlowe's deeply pessimistic view of society would have registered with those early theatregoers; some of whom no doubt would be howling and braying at the evil Jew. Without a doubt this play is anti-Semetic but it is also anti-religious and because the focal point of the whole play is viewed from Barabas' (the Jew) point of view, we are encouraged to see the world through his eyes. The play is introduced by the ghost of Machiavelli adding another layer to the events that are about to pan out before us and he says:............I come not, I,To read a lecture here in BritainyBut to present the tragedy of a JewWho smiles to see how full his moneybags are crammed,Which money was not got without my means,I crave but this: grace him as he deserves,And let him not be entertained the worseBecause he favours me.The play switches to Barabas in his counting house in Malta, the den of this merchant prince who is interrupted from musing on the ships carrying his fortunes in trade around the world by his Jewish friends who warn that the Turkish fleet is moored in port. The Jews are summoned by Ferneze the Christian governor who informs them that if they do not convert to being Christians half of their wealth will be confiscated in order to pay off the Turks. Barabas refuses and Ferneze reminds him that it is a penalty he must pay for being allowed on the Island and the short interchange between the two sums up their positionFerneze - No, Jew, thou hast denied the articles,And now it cannot be recalled.Barabas -Will you then steal my goods?Is theft the ground of your religion.Ferneze replies by forcibly taking all of Barabas money and jewels and turning him out of his house which is converted into a nunnery. Barabas has a beautiful daughter: Abigail and he persuades her to say she wants to become a nun so that she can gain entrance into his old house and locate the riches he has buried there for a rainy day. Barabas visits the slave market and buys the Turkish slave Ithamore who proves to be the devil incarnate. Barabas and Ithamoe use Abigail to lure Ludoviko: Ferneze's son into a fight with another suiter of his daughter, the luckless Mathias. Barabas witnesses the fight and eggs on the protagonists to go for the kill, which proves to be successful because they kill each other. Barabas gets a taste for revenge and after he is deserted by Abigail he poisons her and all the nuns in the convent, next on his list are two friars who attempt to blackmail him and then the unholy trio of Bellamira a courtesan, the thief Pilia-Borza and Ithamore who has schemed with them to rob him. Finally he betrays the Christian rulers by showing the Turks a secret passage into their citadel stronghold. The final three acts of the play are an orgy of blackmail, double crossing and murder as Barabas' need for revenge seems to run away with him, it is a bit like Tamburlaine in Marlowe's previous play who never knew when to stop his conquests and cruelty to the Nations around him.The play would have appealed to the London Public rather like a modern day horror film appeals to the mass market cinema audience. Marlowe chooses ever more inventive ways for Barabas to dispatch his victims; first he manages to encourage two duelists to dispatch each other, then he adds poison to the porridge eaten by the nuns which carries them all away including his daughter. He and Ithamore kill one of the friars by stringing him up with the rope around his cloak and pulling hard on it and then using the dead body to entice the other friar to bash out the brains of his rival and take the rap for the murder. The trio of Bellamira, Pilia-Borza and Ithamore are killed with a poison scented nosegay and finally an elaborate trap is set for the Turkish commander to fall into a vat of boiling water. All of this takes place onstage. The audience would have also enjoyed the easily identified villains of the piece, the hated Jew and the Turkish slave Ithamore. The audience might however have an unease or even concern about the other characters in the play, very few of whom behave well, especially the christian fraternity. While they might have enjoyed the jew baiting that takes place they might have felt some sympathy for Barabas, especially as he takes the audience into his confidence in the first couple of acts with frequent asides. He is the one who loses everything because he is a Jew and has money. He is not portrayed as a usurer, but as a merchant prince and although his love of money is excessive there is no doubt he adds to the wealth of the Island of Malta and has some respect; at the end of the day it is his money that buys off the Turks. The Christians are shown to be more Machiavellian than the Jews, they attempt to double cross the Turks, their religious community in the shape of the friars and nuns are lecherous and as money grabbing as the Jews and their young princes Ludovik and Mathias are shown to be foolish and easily manipulated. The only person who behaves with any honour is Abigail, but she too allows herself to be manipulated by her father. The subversive element to the play shows that everybody is in it for themselves. The Christians who control the politics are underhand and Machiavellian. They loathe and fear the Jews, but are happy to let them contribute to the wealth of the Island. Everything and everybody has a price in the society and this is shown in the slave market where the slaves literally have their price marked on their backs. There is little doubt that Marlowe is making a statement about the society that he is part of. It is the Elizabethans that are up on the stage.The play for the most part is written in the now more familiar iambic pentameters for those parts where the characters have something important to say, prose is used for the low life characters such as Bellamira and Pilia-Borza. Barabas has the longest and best speeches and Marlowe uses much skill in demonstrating various shades of irony throughout the play. In fact the irony at times metamorphoses into black humour as the body count piles up. Barabas -There is no music to a Christian's Knell.How sweet the bells ring, now the nuns are dead,That sound at other times like tinkers' pans!I was afraid the poison had not wrought,Or thought it wrought, it would have done no good,For every year they swell, and yet they live.Now all are dead; not one remains alive.Ithamore -Good master, let me poison all the monks.Barabas -Thou shalt not need, for, now the nuns are dead,They'll die with grief.The Royal Shakespeare Company has made the most recent noteworthy production of Marlowe's classic, but it is a play that needs care when played before a modern audience. The anti-Semitism may nowadays cause offence and the elaborate murders happening on stage could bring the curtain down on a farce. Perhaps it is safer to read the text of the play in the privacy of ones own home. I did and would give it 5 stars
  • Rating: 5 out of 5 stars
    5/5
    Like Merchant of Venice, which shamelessly ripped this play off, but so much nastier. And, yes, horribly anti-Semitic. I'm not giving five stars to that part.

    I sometimes imagine how pissed off Marlowe might have been, as the preeminent playwright of his time, and then here's fuckin' Shakespeare and ah, shit, now I'm a footnote. How much does it suck to be pretty good at what you do but just happen to be born a little before Shakespeare? That only happened once!
  • Rating: 4 out of 5 stars
    4/5
    Love me little, love me long; let music
    rumble,
    Whilst I in thy incony lap do tumble.


    I blame Kalliope for this detour. It was her lengthy survey of Kit's bio that led me here. Maybe Derek Jarman gave a deserved shove as well. Bugger. I watched Jubilee last night. It shocked me and left me slightly listing. Perhaps that was simply Adam Ant. Later that night I crept upstairs and fetched this play before slipping into slumber. I awoke to a world gone white. It has snowed like mad all day. My wife and I have to leave shortly, business calls and we will brave the belabored roads north. It was thus a treat to read this tale, one so low, abject and vile. I loved it. Put me in the camp of blasphemy, if that summons malice to my door, then so be it. By the way, incony is slang for mysterious lady parts.
  • Rating: 2 out of 5 stars
    2/5
    Not bad, but not great either.
  • Rating: 4 out of 5 stars
    4/5
    I actually read an online version of this text provided by my teacher as part of my Introduction to Drama course, so this is not the same version I'm writing about, but is the same work. In many ways, this is the predecessor to The Merchant of Venice, which is a distinction that would already make it notable, but it also has a great amount of value in its own right. While perhaps not as powerful or seemingly progressive as its counterpart, there are very good dramatic speeches, powerful characters, and a tragic ending to consider, and it is certainly a great glimpse into the society from which it came. I certainly would suggest it to anyone that has an interest in dramatic works.
  • Rating: 5 out of 5 stars
    5/5
    One of the origins of the anti-hero in the Western cannon. Every time I watch Jack Bauer torture the poo out of a suspect, or Batman pound the hell out of a mugger, or some stock bad boy save the universe for all the wrong reasons in some trashy sci/fi wad of fluff I thank my boy Christopher Marlow. Actually I really don't. It's just that the more words are in these reviews the higher they are rated. I read this play once where I learned that sometimes the hero isn't so much a hero and sometimes that not-hero does some pretty shitty things to get what he wants. Since the playwrite did a hell of a job making me feel for this character I had to cheer him on and internalize him a bit. If you don't like reading dramas you should read this anyway. The language is easier than Shakespeare (though they were contemporaries) and the story is incredibly engaging. Good stuff!

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The Jew of Malta - Christopher Marlowe

The Project Gutenberg EBook of The Jew of Malta, by Christopher Marlowe

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Title: The Jew of Malta

Author: Christopher Marlowe

Release Date: July 26, 2008 [EBook #901]

Last Updated: January 15, 2013

Language: English

*** START OF THIS PROJECT GUTENBERG EBOOK THE JEW OF MALTA ***

Produced by Gary R. Young, and David Widger

THE JEW OF MALTA.

By Christopher Marlowe

Edited By The Rev. Alexander Dyce

The Famous Tragedy of The Rich Iew of Malta. As it was playd before the King and Qveene, in His Majesties Theatre at White-Hall, by her Majesties Servants at the Cock-pit. Written by Christopher Marlo. London; Printed by I. B. for Nicholas Vavasour, and are to be sold at his Shop in the Inner-Temple, neere the Church. 1633. 4to.

TO MY WORTHY FRIEND, MASTER THOMAS HAMMON, of GRAY'S INN, ETC.

This play, composed by so worthy an author as Master Marlowe, and the part of the Jew presented by so unimitable an actor as Master Alleyn, being in this later age commended to the stage; as I ushered it unto the court, and presented it to the Cock-pit, with these Prologues and Epilogues here inserted, so now being newly brought to the press, I was loath it should be published without the ornament of an Epistle; making choice of you unto whom to devote it; than whom (of all those gentlemen and acquaintance within the compass of my long knowledge) there is none more able to tax ignorance, or attribute right to merit. Sir, you have been pleased to grace some of mine own works 1 with your courteous patronage: I hope this will not be the worse accepted, because commended by me; over whom none can claim more power or privilege than yourself. I had no better a new-year's gift to present you with; receive it therefore as a continuance of that inviolable obligement, by which he rests still engaged, who, as he ever hath, shall always remain,

     Tuissimus,

          Tho. Heywood. 2


Contents


THE PROLOGUE SPOKEN AT COURT.

     Gracious and great, that we so boldly dare

     ('Mongst other plays that now in fashion are)

     To present this, writ many years agone,

     And in that age thought second unto none,

     We humbly crave your pardon.  We pursue

     The story of a rich and famous Jew

     Who liv'd in Malta:  you shall find him still,

     In all his projects, a sound Machiavill;

     And that's his character.  He that hath past

     So many censures 3 is now come at last

     To have your princely ears:  grace you him; then

     You crown the action, and renown the pen.

EPILOGUE SPOKEN AT COURT.

     It is our fear, dread sovereign, we have bin 4     Too tedious; neither can't be less than sin

     To wrong your princely patience:  if we have,

     Thus low dejected, we your pardon crave;

     And, if aught here offend your ear or sight,

     We only act and speak what others write.

THE PROLOGUE TO THE STAGE, AT THE COCK-PIT.

     We know not how our play may pass this stage,

     But by the best of poets 5 in that age

     THE MALTA-JEW had being and was made;

     And he then by the best of actors 6 play'd:

     In HERO AND LEANDER 7 one did gain

     A lasting memory; in Tamburlaine,

     This Jew, with others many, th' other wan

     The attribute of peerless, being a man

     Whom we may rank with (doing no one wrong)

     Proteus for shapes, and Roscius for a tongue,—

     So could he speak, so vary; nor is't hate

     To merit in him 8 who doth personate

     Our Jew this day; nor is it his ambition

     To exceed or equal, being of condition

     More modest:  this is all that he intends,

     (And that too at the urgence of some friends,)

     To prove his best, and, if none here gainsay it,

     The part he hath studied, and intends to play it.

EPILOGUE TO THE STAGE, AT THE COCK-PIT.

     In graving with Pygmalion to contend,

     Or painting with Apelles, doubtless the end

     Must be disgrace:  our actor did not so,—

     He only aim'd to go, but not out-go.

     Nor think that this day any prize was play'd; 9     Here were no bets at all, no wagers laid: 10     All the ambition that his mind doth swell,

     Is but to hear from you (by me) 'twas well.

DRAMATIS PERSONAE.

     FERNEZE, governor of Malta.

     LODOWICK, his son.

     SELIM CALYMATH, son to the Grand Seignior.

     MARTIN DEL BOSCO, vice-admiral of Spain.

     MATHIAS, a gentleman.

     JACOMO,     |

     BARNARDINE, | friars.

     BARABAS, a wealthy Jew.

     ITHAMORE, a slave.

     PILIA-BORZA, a bully, attendant to BELLAMIRA.

     Two Merchants.

     Three Jews.

     Knights, Bassoes, Officers, Guard, Slaves, Messenger,

          and Carpenters

     KATHARINE, mother to MATHIAS.

     ABIGAIL, daughter to BARABAS.

     BELLAMIRA, a courtezan.

     Abbess.

     Nun.

     MACHIAVEL as Prologue speaker.

          Scene, Malta.

THE JEW OF MALTA.

          Enter MACHIAVEL.

     MACHIAVEL. Albeit the world think Machiavel is dead,

     Yet was his soul but flown beyond the Alps;

     And, now the Guise 11 is dead, is come from France,

     To view this land, and frolic with his friends.

     To some perhaps my name is odious;

     But such as love me, guard me from their tongues,

     And let them know that I am Machiavel,

     And weigh not men, and therefore not men's words.

     Admir'd I am of those that hate me most:

     Though some speak openly against my books,

     Yet will they read me, and thereby attain

     To Peter's chair; and, when they cast me off,

     Are poison'd by my climbing followers.

     I count religion but a childish toy,

     And hold there is no sin but ignorance.

     Birds of the air will tell of murders past!

     I am asham'd to hear such fooleries.

     Many will talk of title to a crown:

     What right had Caesar to the empery? 12     Might first made kings, and laws were then most sure

     When, like the Draco's, 13 they were writ in blood.

     Hence comes it that a strong-built citadel

     Commands much more than letters can import:

     Which maxim had 14 Phalaris observ'd,

     H'ad never bellow'd, in a brazen bull,

     Of great ones' envy:  o' the poor petty wights

     Let me be envied and not pitied.

     But whither am I bound?  I come not, I,

     To read a lecture here 15 in Britain,

     But to present the tragedy of a Jew,

     Who smiles to see how full his bags are cramm'd;

     Which money was not got without my means.

     I crave but this,—grace him as he deserves,

     And let him not be entertain'd the worse

     Because he favours me.

          [Exit.]

ACT I. 16

          BARABAS discovered in his counting-house, with heaps

          of gold before him.

     BARABAS. So that of thus much that return was made;

     And of the third part of the Persian ships

     There was the venture summ'd and satisfied.

     As for those Samnites, 17 and the men of Uz,

     That bought my Spanish oils and wines of Greece,

     Here have I purs'd their paltry silverlings. 18     Fie, what a trouble 'tis to count this trash!

     Well fare the Arabians, who so richly pay

     The things they traffic for with wedge of gold,

     Whereof a man may easily in a day

     Tell 19 that which may maintain him all his life.

     The needy groom, that never finger'd groat,

     Would make a miracle of thus much coin;

     But he whose steel-barr'd coffers are cramm'd full,

     And all his life-time hath been tired,

     Wearying his fingers' ends with telling it,

     Would in his age be loath to labour so,

     And for a pound to sweat himself to death.

     Give me the merchants of the Indian mines,

     That trade in metal of the purest mould;

     The wealthy Moor, that in the eastern rocks

     Without control can pick his riches up,

     And in his house heap pearl like pebble-stones,

     Receive them free, and sell them by the weight;

     Bags of fiery opals, sapphires, amethysts,

     Jacinths, hard topaz, grass-green emeralds,

     Beauteous rubies, sparkling diamonds,

     And seld-seen 20 costly stones of so great price,

     As one of them, indifferently rated,

     And of a carat of this quantity,

     May serve, in peril of calamity,

     To ransom great kings from captivity.

     This is the ware wherein consists my wealth;

     And thus methinks should men of judgment frame

     Their means of traffic from the vulgar trade,

     And, as their

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