The Jew of Malta is a tragicomedy play written by the English dramatist Christopher Marlowe, likely composed and first performed in 1589–1590. It is one of the earliest English Renaissance dramas to focus on a Jewish protagonist and is notable for its complex portrayal of religious and political conflict during the Reformation era.
Authorship and Dating
The play is attributed to Christopher Marlowe, a contemporary of William Shakespeare, and is generally dated to the late 1580s. The exact year of composition is uncertain, but it is thought to have been written and first staged between 1589 and 1590, shortly before Marlowe’s death in 1593.
Genre and Structure
The Jew of Malta is classified as a tragicomedy, blending elements of both tragedy and comedy. The work is written in blank verse and prose, typical of Elizabethan drama, and is structured in five acts.
Synopsis
The narrative centers on Barabas, a wealthy Jewish merchant in Malta, who is dispossessed of his property by the Christian governor, Ferneze, following a siege by the Ottoman Empire. In retaliation, Barabas engages in a series of machinations, including murder, deceit, and betrayal, targeting both Christian and Muslim characters. The play culminates in Barabas’s downfall and death, while also portraying the moral corruption of various figures across religious lines.
Characters
- Barabas – A Jewish merchant and the titular protagonist, depicted as both cunning and ruthless.
- Ferneze – The Christian governor of Malta who expels Barabas and seizes his wealth.
- Abraham – Barabas’s son, who converts to Christianity.
- Abigail – Barabas’s daughter, who converts to Islam.
- Hieronimo – A Christian merchant and Barabas’s rival.
- Morocco – The Ottoman admiral who lays siege to Malta.
Themes
The play explores themes of religious intolerance, greed, revenge, and the manipulation of power. It reflects contemporary anxieties about the clash between Christianity and Islam, as well as anti‑Jewish sentiment prevalent in Elizabethan England. Scholars also note its commentary on the corrupting influence of wealth and the fluidity of religious identity.
Performance History
The Jew of Malta was first performed by the Admiral’s Men, a leading London acting company, at the Rose Theatre. It quickly entered the repertory of Elizabethan theatres and was revived in various forms during the Restoration period. Notable productions have occurred in the 20th and 21st centuries, often accompanied by scholarly debate regarding its portrayal of Jewish characters and its relevance to modern audiences.
Literary Significance
The play is regarded as an important work in the canon of early modern English drama. It demonstrates Marlowe’s mastery of dramatic structure and his willingness to engage with controversial subjects. The character of Barabas has been compared to Shakespeare’s Shylock from The Merchant of Venice, highlighting the evolution of Jewish representation on the English stage.
Critical Reception
Critics have long debated the moral stance of the play, with some interpreting it as a satire of religious hypocrisy, while others view it as reinforcing anti‑Jewish stereotypes. Modern scholarship tends to contextualize the work within its historical period, acknowledging both its artistic merit and its problematic depictions.
Adaptations
The Jew of Malta has been adapted for radio, television, and contemporary theatre, often with revisions to address its contentious content. Notable adaptations include a 1975 BBC radio drama and a 1993 stage production by the Royal Shakespeare Company that incorporated a critical perspective on the play’s themes.
References
- Marlowe, Christopher. The Jew of Malta. Various early quartos, 1590–1595.
- Kneale, J. E., ed. Marlowe: The Complete Works. Oxford University Press, 1994.
- Hattaway, Michael. “Marlowe and the Jewish Tragicomedy.” Shakespeare Quarterly, vol. 41, no. 3, 1990, pp. 321‑340.
- Sutherland, John. The Cambridge Companion to Christopher Marlowe. Cambridge University Press, 2005.
