Appearance
Excerpt
Excerpt from The Jew of Malta, by Christopher Marlowe
ACT I. [16]
BARABAS discovered in his counting-house, with heaps<br />
of gold before him.
BARABAS. So that of thus much that return was made;<br />
And of the third part of the Persian ships<br />
There was the venture summ'd and satisfied.<br />
As for those Samnites, [17] and the men of Uz,<br />
That bought my Spanish oils and wines of Greece,<br />
Here have I purs'd their paltry silverlings. [18]<br />
Fie, what a trouble 'tis to count this trash!<br />
Well fare the Arabians, who so richly pay<br />
The things they traffic for with wedge of gold,<br />
Whereof a man may easily in a day<br />
Tell [19] that which may maintain him all his life.<br />
The needy groom, that never finger'd groat,<br />
Would make a miracle of thus much coin;<br />
But he whose steel-barr'd coffers are cramm'd full,<br />
And all his life-time hath been tired,<br />
Wearying his fingers' ends with telling it,<br />
Would in his age be loath to labour so,<br />
And for a pound to sweat himself to death.<br />
Give me the merchants of the Indian mines,<br />
That trade in metal of the purest mould;<br />
The wealthy Moor, that in the eastern rocks<br />
Without control can pick his riches up,<br />
And in his house heap pearl like pebble-stones,<br />
Receive them free, and sell them by the weight;<br />
Bags of fiery opals, sapphires, amethysts,<br />
Jacinths, hard topaz, grass-green emeralds,<br />
Beauteous rubies, sparkling diamonds,<br />
And seld-seen [20] costly stones of so great price,<br />
As one of them, indifferently rated,<br />
And of a carat of this quantity,<br />
May serve, in peril of calamity,<br />
To ransom great kings from captivity.<br />
This is the ware wherein consists my wealth;<br />
And thus methinks should men of judgment frame<br />
Their means of traffic from the vulgar trade,<br />
And, as their wealth increaseth, so inclose<br />
Infinite riches in a little room.<br />
But now how stands the wind?<br />
Into what corner peers my halcyon's bill? [21]<br />
Ha! to the east? yes. See how stand the vanes--<br />
East and by south: why, then, I hope my ships<br />
I sent for Egypt and the bordering isles<br />
Are gotten up by Nilus' winding banks;<br />
Mine argosy from Alexandria,<br />
Loaden with spice and silks, now under sail,<br />
Are smoothly gliding down by Candy-shore<br />
To Malta, through our Mediterranean sea.--<br />
But who comes here?
Explanation
Detailed Explanation of the Excerpt from The Jew of Malta (Act I, Scene 1) by Christopher Marlowe
Context of the Play
The Jew of Malta (c. 1589–1590) is a darkly satirical tragedy by Christopher Marlowe, a contemporary of Shakespeare. The play follows Barabas, a wealthy Jewish merchant in Malta, whose relentless pursuit of wealth and revenge drives the plot. The excerpt introduces Barabas in his counting-house, surrounded by gold, establishing his greed, materialism, and disdain for lesser fortunes. The play critiques religious hypocrisy, economic exploitation, and the corrupting nature of wealth, reflecting Renaissance anxieties about commerce, colonialism, and anti-Semitism.
Themes in the Excerpt
Wealth and Greed
- Barabas’s monologue is a celebration of material wealth, but it also reveals his obsession with accumulation and his contempt for those with less. His speech is saturated with imagery of precious metals, gems, and global trade, emphasizing his mercantilist mindset—wealth is power, and power is security.
- His disdain for "paltry silverlings" (cheap coins) contrasts with his reverence for gold and jewels, suggesting a hierarchy of wealth where only the rarest and most valuable commodities are worthy of his attention.
Colonialism and Global Trade
- Barabas’s wealth is tied to international commerce, referencing trade with Persia, Spain, Greece, Arabia, India, and Egypt. This reflects the expansion of European colonialism in the 16th century, where merchants like Barabas profited from exploitative trade networks.
- His mention of "Indian mines" and "eastern rocks" (likely alluding to the spices, silks, and gems of the East Indies and Ottoman Empire) highlights the exoticization of wealth—foreign luxuries as symbols of status.
Power and Security
- Barabas views wealth as a means of control and survival. He boasts that a single gem could "ransom great kings from captivity," suggesting that money is not just a commodity but a tool of political leverage.
- His desire to "inclose / Infinite riches in a little room" mirrors the Renaissance ideal of the "closed treasure chest"—wealth hidden and hoarded, ensuring personal security in an unstable world.
Anti-Semitic Stereotypes
- Marlowe’s portrayal of Barabas plays into medieval and early modern anti-Semitic tropes—the greedy, scheming Jewish moneylender. While the play may critique Christian hypocrisy, Barabas’s character reinforces stereotypes of Jewish avarice.
- His isolation in the counting-house, surrounded by gold, aligns with the myth of the "wealthy Jew" exploited in European literature (e.g., Shakespeare’s Shylock).
Fate and Fortune
- Barabas’s sudden shift to asking, "But now how stands the wind?" introduces the theme of luck and vulnerability. Despite his wealth, he is anxious about his ships’ safe return, foreshadowing the precariousness of his fortune (which is later seized by the Maltese government).
Literary Devices & Stylistic Features
Imagery of Wealth and Excess
- Visual & Tactile Imagery: Barabas describes gold, silver, pearls, and gems in sensory detail ("sparkling diamonds," "grass-green emeralds," "purs'd their paltry silverlings"). This creates a lustrous, almost hypnotic effect, reinforcing his obsession.
- Hyperbole: His claim that a single gem could ransom a king is an exaggeration that underscores the mythic power of wealth in his mind.
Contrast & Juxtaposition
- "Paltry silverlings" vs. "wedge of gold": The devaluation of common currency against rare metals highlights Barabas’s elitism.
- "Need groom" vs. "wealthy Moor": The poor laborer who would "make a miracle" of small coins is contrasted with the effortless wealth of Eastern merchants, emphasizing Barabas’s disdain for manual labor.
Metaphor & Symbolism
- "Infinite riches in a little room": This metaphor suggests hoarding as power—wealth concentrated and controlled, away from public view.
- "Halcyon’s bill": The halcyon (kingfisher) was a mythical bird believed to calm the seas. Barabas’s question about the wind direction is a metaphor for his dependence on luck—his fortune is tied to unpredictable forces (trade winds, piracy, political shifts).
Dramatic Irony
- Barabas’s confidence in his wealth is ironic because the audience (or reader) knows that his fortune will soon be stripped from him by the Maltese authorities, triggering his vengeful rampage.
Blank Verse & Rhythmic Control
- Marlowe writes in unrhymed iambic pentameter, giving Barabas’s speech a grand, declarative tone befitting a wealthy merchant. The rhythm slows when he lists gems ("Beauteous rubies, sparkling diamonds"), creating a hypnotic, covetous effect.
Significance of the Passage
Characterization of Barabas
- This monologue establishes Barabas as a Machiavellian figure—ruthless, calculating, and driven by self-interest. His materialism is both his strength and his downfall.
- His isolation (alone in his counting-house) foreshadows his social alienation—he trusts only money, not people.
Critique of Capitalism & Colonialism
- Marlowe exposes the dark side of mercantilism: wealth built on exploitation, with no moral constraints. Barabas’s trade relies on global networks of labor and resources, many of which were acquired through colonial violence.
- The play questions whether wealth corrupts absolutely—Barabas’s greed leads to his moral decay.
Religious and Political Commentary
- The play reflects Renaissance anxieties about Jews in Christian societies. Barabas is both a victim of persecution (later in the play) and a villain, complicating moral judgments.
- His speech also critiques Christian hypocrisy—while Barabas is condemned for his greed, the Christian characters (like Ferneze) are equally corrupt.
Foreshadowing
- Barabas’s obsession with his ships’ safe return hints at the fragility of his empire. His wealth is dependent on external forces (trade, politics, luck), setting up the conflict when Malta’s government seizes his property.
Line-by-Line Breakdown (Key Moments)
| Line | Explanation |
|---|---|
| "So that of thus much that return was made;" | Barabas is calculating profits, suggesting his meticulous, almost obsessive approach to money. |
| "Fie, what a trouble 'tis to count this trash!" | His contempt for small coins reveals his elitism—only large sums are worth his time. |
| "Well fare the Arabians, who so richly pay / The things they traffic for with wedge of gold," | He envies Eastern merchants who deal in gold, not silver, reinforcing his hierarchy of wealth. |
| "The needy groom... Would in his age be loath to labour so," | A classist remark: the poor are desperate for coins, but the rich (like him) scorn manual labor. |
| "Give me the merchants of the Indian mines..." | His fantasy of effortless wealth—mining gems without labor, a colonialist dream. |
| "And thus methinks should men of judgment frame / Their means of traffic from the vulgar trade," | He sees himself as superior to common merchants, reinforcing his arrogance. |
| "Infinite riches in a little room." | A powerful metaphor for hoarding—wealth as something hidden, controlled, and infinite. |
| "But now how stands the wind?" | Sudden shift to anxiety—his fortune depends on uncontrollable forces (weather, trade routes). |
Conclusion: Why This Passage Matters
This opening monologue is foundational to The Jew of Malta because it:
- Introduces Barabas as a complex antihero—brilliant but morally bankrupt.
- Sets up the play’s central conflict: wealth vs. power, individualism vs. society.
- Reflects Renaissance economic and religious tensions, critiquing both capitalist greed and religious hypocrisy.
- Uses rich, sensory language to immerse the audience in Barabas’s covetous worldview.
Marlowe’s portrayal is both a satire and a warning—Barabas’s downfall is a cautionary tale about the corrupting nature of unchecked ambition. Yet, the play also challenges the audience to consider whether Barabas is a villain or a product of a hostile, exploitative system.
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