The Jew of Malta Essay Questions

Who is the protagonist of the play?

The Jew of Malta is a unique tragedy in that there is no straightforward protagonist with whom the audience can sympathize. Instead, Barabas – the central character – is equal parts protagonist and antagonist, often appearing as a victim of Christian greed and prejudice while at the same time developing a murderous streak of his own. Many of Barabas's deeds are unforgivable (such as poisoning his own daughter after her conversion), but his complexity challenges the audience to see the nuances within and among characters while also remaining skeptical of everyone in the play.

To what extent is The Jew of Malta antisemitic?

From a contemporary point of view, The Jew of Malta is laden with antisemitic stereotypes and prejudices, such as the frequent references made to Barabas's large nose as a symbol of his Jewishness. However, not only is the term "antisemitic" an anachronism – this term did not develop in English until the late nineteenth century – but it can be argued that, while the play contains anti-Jewish characters, it is not itself an antisemitic performance. Instead, The Jew of Malta expresses skepticism and doubt over the efficacy of all religions, and shows how evil deeds and sinful behavior often operate under the guise of religious piety.

What is the genre of the play?

While The Jew of Malta is generally considered a tragedy (and indeed, its original title was The Famous Tragedy of the Rich Jew of Malta), many have noted over the years that the play contains a great deal of comic elements. The play's approach to murder and deceit is relatively lighthearted throughout, and by the end of the play the threats to stability are removed and the status quo restored – a common plot of early modern comedies. As such, the play contains both comic and tragic elements. This hybrid structure led T.S. Eliot to declare the play a "tragic farce."

What role do biblical allusions play in the performance?

Throughout the play, there are numerous biblical allusions made by both Christian and Jewish characters alike. These allusions emphasize both the commonalities and the differences held between members of each faith: Christians and Jews both recognize the books of the Old Testament, while only Christians recognize the holiness of the New Testament (in which Jesus is sent to earth to die for man's sins). When characters allude to different parts of the Bible, they are often doing so to alienate another character of a different faith. Furthermore, Barabas makes allusions to the Bible that are often skewed or downright incorrect, suggesting that he finds a way to twist even the word of God to his own benefit.

The play's conclusion would seem to suggest that Christianity is superior to Judaism. To what extent does the play support this reading?

At the end of the play, Barabas is boiled alive while confessing to his many murders and schemes. By contrast, Ferneze is the Governor of Malta once more, and order appears to have been restored after the removal of threats to Maltese prosperity. This ending suggests the triumph of Christianity over other religions – not an uncommon theme for an early modern English drama – but it is not altogether and appropriate reading of the play. Audiences have already been warned throughout the play that Ferneze is not trustworthy and indeed shares more in common with Barabas than he lets on. Thus, the stability that appears at the end of the play is itself a type of farce, and the play suggests that though the Christians have "won" this Maltese conflict, they are not necessarily deserving of the victory they celebrate.