Christopher Marlowe's The Jew of Malta is a theatrical juxtaposition of exotic plots and romantic heroes, emblematic of Elizabethan drama's evolution. The play, dominated by the character Barabas, explores themes of power, obsession, and amorality through a blend of farce, melodrama, and black comedy. Though originally popular during its debut and controversial due to its portrayal of Jews, the play's reception has evolved, particularly in light of historical events and modern sensibilities.

The Dominance of Barabas

In Marlowe's The Jew of Malta, the character of Barabas overshadows all others, transforming a seemingly straightforward revenge tragedy into a complex character study. Marlowe, whose profound influence shaped the future of English drama, infused Barabas with elements from various sources, including Italian revenge tragedies and English morality plays. Barabas, much like the protagonists in Doctor Faustus and Tamburlaine the Great, is a figure driven by singular obsession, embodying Marlowe's typical dramatic focal points.

Barabas is an enigmatic figure, as the play's tone shifts between presenting him as a symbol of evil and an understandable protagonist. T. S. Eliot famously categorized the play as a farce, due to its "savage comic humor," highlighting the difficulty in pinning the play down to a single genre. The thematic heart of The Jew of Malta revolves around the exploration of human power's limits, where Barabas’s rise and fall are dictated by his obsessive nature, creating unity through his overpowering personality.

Structure and Themes

The structure of The Jew of Malta lends itself to critical debate, primarily due to its narrative disjunction. The first part delves into Barabas's motivations, casting him as a Machiavellian figure justified by the hypocrisy of his Christian adversaries. This segment taps into familiar themes from Marlowe's repertoire, such as egocentrism and wealth.

However, the second part shifts dramatically, focusing more on the actions of Barabas rather than his internal monologue. Marlowe employs a "technique of action" that emphasizes clever stagecraft and narrative twists, such as Barabas's asides, which reveal his duplicity. The episodic nature of the plot is underscored by symmetrical pairings, reminiscent of revenge tragedies, and these elements coalesce around Barabas’s intrigues and machinations.

Evolving Reception and Modern Interpretations

Despite its initial popularity, The Jew of Malta presents challenges for modern audiences, chiefly due to its overt anti-Semitism. When the play premiered, Marlowe’s notoriety and Elizabethan intrigue with sensationalism kept audiences engaged, but historical context has shifted its reception significantly. The play's anti-Semitic undertones are difficult to ignore, especially post-Holocaust, as they echo the prejudices that allowed historic atrocities to unfold.

Modern productions, such as the 1999 performance at the Almeida Theatre in London, navigate these challenges by leaning into the play's comedic aspects. Ian McDiarmid's portrayal of Barabas was notably successful, as critics like Benedict Nightingale and Susannah Clapp noted, by presenting the character with gleeful villainy. By highlighting the farcical and grotesque elements, this production captured audiences in a way that transcended the play's darker themes.

Barabas: A Complex Protagonist

Barabas's character is at the forefront of the play, serving as the lens through which the audience engages with the narrative. Critic David M. Bevington notes Barabas as a "lifelike Jewish merchant" ensnared in a political feud, while also embodying moral vice. Initially, his cunning and the perception of his unjust treatment might evoke audience sympathy, but as his schemes unravel, Barabas emerges as a self-destructive villain.

Barabas’s lack of respect for any group, be it Jews, Christians, or Turks, further complicates interpretations of him as a mere victim of prejudice. His own daughter Abigail acknowledges the absence of love or pity among people before her convent entry....