Christopher Marlowes The Jew of Malta - Essay Example

RENAISSANCE PERIOD STUDY The word Renaissance is a French word meaning new birth or rebirth, a given to the cultural movement that began in Italy during the late middle ages and later spread gradually to rest of Western Europe. This cultural movement brought along with it, a revival of sorts, in the field of learning based on classical sources, the development of linear perspective in painting and gradual yet widespread educational reforms. The Renaissance saw the development in most intellectual pursuits that profoundly affected European intellectual life in the early medieval era. It made its presence felt in the field of art, science, history, religion, literature, philosophy and politics as well as other aspects of intellectual inquiry. Scholars and thinkers of this era, sought out in search of ancient texts written in Latin or ancient Greek which had been long lost and forgotten into obscurity, which fuelled their desire to increase and improve their worldly knowledge - a concept totally in contrast to the transcendental spirituality strongly propagated by medieval Christianity. These scholars, however did not denounce or reject Christianity, but this cultural shift and the quest for knowledge did brought about a change in the way religion was approached by the intellectuals and was evident in many areas of their cultural life. The Renaissance was an awakening in true form and spirit of the literary works of those times. This paper seeks to discuss the works of the greatest authors of all times, William Shakespeare’s Richard III and Christopher Marlowe’s The Jew of Malta and Dr Faustus, all three of which were widely popular and yet severely criticized mainly because of it’s content and candid use of language, and study them in the light of Renaissance – an era of immense exploration and questioning of ideas and well established philosophies. Although there exist many views regarding the exact date of the Renaissance period in history, for the purpose of this essay, the period between 14th to 17th centuries is considered as the Renaissance Era. In England, the Elizabethan era marked the beginning of the Renaissance Era, with the works of such writers as William Shakespeare, Christopher Marlowe, John Milton and Edmund Spenser. This led to the development of new ideals on humanism which were far more liberal and secular as opposed to those in the medieval era to the chagrin of the yet unquestioned Christian backdrop. Much of the literary work was dedicated to religion or Church, as a result it had profound effect on contemporary theology, particularly the way in which the relationship between man and god was perceived. The Renaissance thus could well be perceived as a time of religious turmoil. On the other hand, significant developments were taking place in the field of science and technology, which eventually led to the invention of printing press. The scholars and thinkers of those times were engaged in reading and exploring old Greek and Latin texts as well as the Bible started publishing them through the newly invented printing press thus making it available to the common people at large and exposing them to public scrutiny. All this in turn led the development of a new approach to religion which is evident from the subsequent reforms of the Church from Catholic to Protestant, which previously claimed hegemony in Western Europe. Humanism and Renaissance, thus, played a significant role in the sparking the reformation drive, which is also apparent in the works of exemplary writers such as William Shakespeare and Christopher Marlowe and the likes. Christopher Marlowe’s The Jew of Malta, was an early 16th century play written sometime between 1589 -1590 (approximately), right at the centre of a profound era that marked the beginning of a remarkable restructural theater dynamics that laid the foundation for secular and restructural modern drama. “The Jew of Malta”, is a path breaking play that gives the reader an insight into the internal-social and political complexities of that era as well as an opportunity to explore the profound impact of the industrial revolution on internationalism. Set in a backdrop of an era with strong religious and geo – political undercurrents, this play enlightens the readers about the era that was in the process of undergoing a culture change. Marlowe’s work is as profound and rich in prose, as that of the great William Shakespeare, in many ways than one. The Jew of Malta, was an attempt by the author to shed light on various aspects relevant to that period in history such as, the state of international affairs and geo – political dynamics, the complex situation of women, the emergence of formal design of playwriting and the use of “Jews” as the “other”. Reading the Jew of Malta, is as good as reliving the Renaissance era as it takes the readers on a journey back in time to that magnificent era that brought about significant and relevant socio – cultural and political changes in the society. The portrayal of the protagonist in the play, The Jew of Malta, Barabas, as an evil and anti hero character and the depiction of religious conflicts in the play, attracted widespread criticism and he was even accused of anti Semitism. The depiction of Barabas, a Jew, a miser is also highly racial, as it is a trait believed to be typical to the Jewish community. However the character also shows signs of humanism which is evident in the part where he vehemently opposes the blatant unfairness of the governor’s decision to allow only the Jewish population of Malta, to pay the Turkish tribute. It is because of this incident that he is stripped of all his possessions and subsequently turns into a negative character, nothing short of a monster. His actions are all the more justified especially when he is isolated by his own men, i.e., the fellow Jews including his own daughter and is left to fend for his own. His plight worsens when even Ithamore, loses interest in his former loyalty towards his master. Apparently, some of the most famous lines in the play happen to be introducing speech to Ithamore when he meets the latter for the first time, which goes: “I walk abroad a- nights and kill sick people groaning under walls” and goes on to give accounts of several murders and robberies that he committed. It is interesting to note the matter – of – fact kind of confession he makes in front of Ithamore is actually so blatant that it sometimes makes us wonder whether a character so subtle and underhand as his, could actually be guilty of the crimes he confessed to have committed or was it just a lie or mere exaggeration. A close observation of his character might lead us to believe that Barabas wasn’t as devilish and tyrant as he was made out to be, he could well have been transformed into one such character because of the circumstances around him, meaning, the play is rather about his “transformation” into anti Semitic character rather than him being that from the very beginning, of which he was usually accused. In his continual acts of treachery and brutality, he makes it clear that like Shylock, he too is following the Christian example: “Faith is not to be kept with heretics” to which he adds, “and all are heretics who are not Jews”. It could very well be the reason why Machievelli, describes it as the “Tragedy of the Jew” in the prologue. The play is full of such examples where the author blatantly ridicules all the three major religions, namely the Christians, the Jews and the Turkish (Muslims) for indulging in unfair practices worthy of damnation. For example the Christian monks and nuns are criticized for engaging in such forbidden acts as sexual practices, a pair of friars who are constantly at loggerheads with each other in an attempt to bring Barabas and his wealth under their power, the unfair treatment of Jews by the Governor of Malta, a devout Christian, who apart from being unfair and unjust is also portrayed as an opportunist who virtually is on the lookout for any opportunity that is advantageous to him and the Turkish slave Ithamore, who is portrayed as an idiotic drunkard and a womanizer. Also there are the Turkish invaders with their devilish plans of turning the city’s defenders into galley slaves. All the characters of the play belonging to three different religious groups are depicted as being in constant enemity with each other. It is a mockery of self – contented morality and is a clear suggestion of the fact that all the religious groups irrespective of their respective morality teachings are equally likely to engage into frequent acts of violence to fulfill their own selfish desires. This irony comes out in that part of the play where Barabas falls into his own boiling cauldron and pleads for help from the Turkish and Christian onlookers for mercy, knowing fully well that had he been on the other side he would never have extended his hand for help. This comes as a stark contrast to the Christians ideology, which propagate charity and advocates acts of kindness as a means of being closer to god, and yet they themselves do not show any mercy to their fellow Christian who is in dire need of help and lets him suffer in front of their very eyes. In one more such incident where the Turkish soldiers are killed in huge numbers by the explosion of gunpowder, also made by Barabas, the Christians carry the remaining Turks as prisoners back to their city of Malta, exactly in the manner that Barabas – a criminal and a murderer would have done. The ending of the play isn’t conclusive either as it doesn’t give any of the religious followers get away blameless, as they all have resorted to harsh acts in stark contrast to the principles of humanity let alone religion. This play is an attempt on the part of Marlowe to understand the acts of Barabas as separate from his defined experiences. He tried to establish certain ideas such as Barabas would have killed his own daughter if he had been pushed too far, conversion to Christianity is equal to absolvement, and even the wealthy Jews are unfaithful and unworthy of trust. Above all he seeks to give his readers an opportunity to experience the “Jews” as the “other”. In his play, “The Tragical History of Doctor Faustus”, Marlowe has used the structure of the medieval morality play for reinterpreting the almost century-old legendary character of Faust, a man who sacrifices his immortal soul in exchange for knowledge and power. In this play Marlowe presents a mythic, archetypal tale of human pride, sin, and fall from grace that has appealed to readers and audiences throughout the humanist aspirations of the Renaissance, the spiritual explorations of Romanticism, and the skepticism of modernity. This play by Marlowe is a blank verse and prose and typical to the Elizabethan style, a chorus, where the characters instead of interacting with each other, provide introduction and conclusion to the play. It is, in some ways, sort of a medieval morality play complete with the good and the bad angels, which portrays its central character, Dr. Faustus, as a luminal figure, whose swing in character is quite remarkable in a way that sometimes intrigues the audience while on some other occasions scares them away or make them despise the central character. The play depicts Dr. Faustus as a man born of poor parents and with exemplary intellectual skills. He comments that he has reached the threshold of all the knowledge that is available in books and expresses desire to read the book of nature. He dismisses logic as a tool for arguing, medicine as unvalued until it has the power of raising the dead and immortality, law as being petty and below him and divinity as meaningless and hypothetical as according to him all men commit sin and hence not worthy of divinity. Moreover to have sins punishable by death further complicates the logic of divinity, a stark deviation from the traditional Orthodox Christianity doctrine. Dr Faustus characterization is largely based on marginality approach that followed the norms that were different or uncommon to the Orthodox beliefs and those deviating from the Christian ideals were either isolated or damned from the community which is exactly what happened in the case of Dr. Faustus. Now, Faustus, must thou needs be damned? And canst thou not be saved? What boots it then to think on God or heaven? Away with such vain fancies and despair, Despair in God and trust in Beelzebub. Now go not backward. No, Faustus, be resolute. Why waverest thou? Oh, something soundeth in mine Ears Abjure this magic, turn to God again." --Act 1, Scene 5, Lines 1-8: Faustus to himself The play was surrounded with religious controversies, raising the question of orthodoxy, i.e., whether the play supports Protestant theology or counteracts it, so much so that it was touted as being the most penetrating exercise in religious self scrutiny. According to a school of critical thought, reformation theology plays a significant role in providing dramatic unity to the play. Some scholars have argued that Doctor Faustus is "thoroughly Christian in conception and import", which holds true considering the fact that Faustus sins knowingly, does not repent, and suffers eternal damnation--a plot that is totally in line with the Christian doctrine, especially so in the medieval era whereby those deviating from the traditional norms of Orthodox Christianity were isolated and condemned from the society. This is evident from the fact that Jews, prostitutes, homosexuals, witches were categorically alienated from the society and subsequently persecuted on the grounds of morality and deviation from the widely accepted Orthodox Christianity and community values. The protagonist is finally portrayed as revolting against the limitations of sin and death, and by extension, against the Calvinist doctrine of predestination. Harry Lewin in his biographical interpretation pointed out that Marlowe himself, like Faustus, was an "impenitent and willful miscreant" committed to subverting Christian values. Several conflicting views exist regarding the play Dr. Faustus purely because of the religious connotations it carries, the traditions of Orthodox Christianity, the Reformation, humanist and scientific modernity to name a few. It is a depiction of a point in time in history, of human aspirations, presumptions and damnation. It is a Christian morality play in every sense and had disturbing effects on the audience belonging to different schools of thoughts, Elizabethan and modernists alike. In conclusion, Marlowe’s Dr Faustus could be considered as a morality play, whereby, the central character deliberately trespasses in areas forbidden to man by trading his soul for knowledge and as a result is ultimately damned. Owing to such religious overtones, Marlowe was often accused of being an atheist, which if held true, essentially contradicts his ability to moralize from a Christian stance. Faustus is found guilty of several sins, pride being one of them and the greatest of them all. However the 16th century that saw a major shift in the Christian ideals contributed to the significance of Marlowe’s plays. Throughout his plays Marlowe depicted the Christian ideals of his time that every individual was responsible for his own fate. Morality and Orthodox Christianity were often found conflicting with each other in most of the plays in the Renaissance era, as owing to the widespread reformations in various spheres including science and technology which ultimately translated into easy access to various scriptures and knowledge about the “unknown”. Richard III is considered to be one of Shakespeare’s earliest plays preceded only by the three parts of Henry VI. The play revolves around two brothers Richard and King Edward the IVth, and is about the jealousy and insecurities of the younger brother soon after his elder sibling’s coronation. One of the central ideas of the play is the idea of fate or destiny, as is evident by the traits of the central character, Richard and the reactions he manages to draw from those around him. Richard, is portrayed as cruel and cynical, a character that shares uncanny resemblance to Sir Thomas Moore’s account of Richard III. The play also stresses the popular belief rampant in the Elizabethan Era that a man’s action is governed by god and he often punishes evil with evil. Thus taking into consideration, the old religious ideologies and incorporating them with the new ideologies of the divine power and human will which had grown to be quite popular in the wake of Protestant Reformation, during the Renaissance Era, painted Richard as the curse of God on England as a punishment for the deposition of Richard II in 1399. However a close consideration of the characters in the play might lead us to believe that historical fatalism could be just one way of looking at the argument fate against free will. On the other side, Richard’s character could very well have been a personification of the Machiavellian history of power politics, which justifies Richard’s action of forcibly dethroning his brother and taking charge of the throne himself by use of sheer force and malice. Twentieth-century studies of Shakespeares Richard III have shown the character of Richard to be that of a Machiavelli, a figure closely related to the Vice of the Morality plays and to the Tyrant of Senecan tragedy. The resemblance to the Vice in turn suggests his association with the moral and even theological dimensions that was never quite lost on the English Renaissance stage. It is quite interesting to see the exquisite interplay of religion and politics woven beautifully into the play. The character of Richard III in the play is essentially that of a hypocrite who, on one hand, constantly ridicules religion and in his soliloquies while on the other hand gives religious speeches that bear testimony to the fact of how little knowledge he had about the piety that he so elaborately talked about. (William John Birch). In the European society, marginal groups existed in the middle ages which made it necessary for the existing ruling powers, Christianity, to acknowledge and address them. Marginality was a term used to describe those groups of people, such as Jews, lepers, homosexuals, prostitutes etc, who were either secluded or persecuted by the dominant culture in a community for deviating from the views and principles advocated by the majority and were perceived as possible threat to their community, especially so in times when the Renaissance era saw a major reformation in the organization of the Orthodox Christianity. The exercise of alienating such groups was particularly necessary in times of rapid social change and increasing differentiation, when the redefinition of social values and the reaffirmation of social unity is called for (R.I. Moore, The Formation of a Persecuting Society, Oxford: Blackwell Publishers Ltd, 1990, pg.106) These groups often included people belonging to different communities, following different religions or associated with activities forbidden by the Christian law. The increasing hostility towards prostitution, crusades against non- Christians and the expulsion of Jews from several European areas all bear testimony to the increasing intolerance of deviation from the largely accepted standards of the majority. This situation was often used in plays during those times, and was subjected to severe criticism. REFERENCES Tragical History of Doctor Faustus, The: Introduction." Literary Criticism (1400-1800). Ed. Marie Lazzari. Vol. 47. Gale Group, Inc., 1999. eNotes.com. 2006. 14 May, 2008 "Richard III (Vol. 62): Introduction." Shakespearean Criticism. Ed. Michelle Lee. Vol. 62. Gale Group, Inc., 2002. eNotes.com. 2006. 14 May, 2008 Richard III, May 15, 2008, Dr. Faustus, 13th August 2007, May 15, 2008. The Jew of Malta, 25th April 2008, May 15, 2008. The Complete works of Shakespeare: Richard IIIMay 15, 2008 The Tragical History of Dr. FaustusMay 15, 2008 The Jew of Malta, May 15, 2008 R.I. Moore, The Formation of a Persecuting Society, Oxford: Blackwell Publishers Ltd, 1990, pg.106 Read More