Themes
Key
LitCharts assigns a color and icon to each theme in The Jew of Malta, which you can use to track the themes throughout the work.
God and Machiavellianism
Religious Hypocrisy
Anti-Semitism
Money and Greed
Betrayal and Revenge
Summary
Analysis
Ferneze, the governor of Malta, enters with Selim-Calymath, the son of the Turkish Emperor, and several Turkish military officers. The tribute between Malta and the Turkish Empire has not been paid for 10 years, and the Emperor has sent Calymath to collect. Ferneze claims the tribute is too high, and he begs Calymath for mercy. It is not in his power to grant them mercy, Calymath tells Ferneze. The Emperor has sent Calymath for the money, and Ferneze has no choice but to pay.
Although the amount of the tribute payment is not mentioned here, the reader can infer that it is a substantial amount of money, since a high-ranking man like Ferneze has no way to pay it. This excessive tribute payment again hints at the threads of greed and Machiavellianism that run throughout the play. The Turks expect Malta to pay money it doesn’t have in order to stop a military invasion it likely can’t defend. In this light, the tributary agreement between the Turks and Malta is little more than extortion.
Themes
Ferneze agrees, but he asks Calymath for more time. Since the tribute payment is so high, Ferneze will have to collect it from the people of Malta. One of the Turkish officers tells Calymath that granting Ferneze more time is not within their scope of power either, but Calymath tells the officer to show some kindness. It is better to collect the money peacefully than to collect it through violence, Calymath says. Ferneze says he will have the money in one month, and Calymath agrees. They will send a messenger to collect the money later, Calymath says, exiting with his military officers.
Calymath must answer to his father, the Ottoman Emperor, so he does not technically have the power to grant Ferneze more time. In this way, Calymath betrays the Emperor’s order when he doesn’t collect the money immediately or attack. While Calymath’s decision to grant Ferneze more time certainly displays some kindness on his part, it is also evidence of the frequent betrayal portrayed throughout the play.
Themes
Ferneze turns to one of his own officers and asks where the Jews are just as Barabas enters with three other Jewish men. Selim-Calymath has come to collect the tribute money, Ferneze says, and Barabas agrees it is a good idea to give the Turks their money. Ten years’ worth of tribute money is too much, Ferneze continues, and he must ask the Jews for their help. Of course, Barabas says, but the Jews are not soldiers. Ferneze laughs. Malta is not looking for soldiers—Malta is looking for gold, and Barabas is a rich man. Barabas feigns surprise and asks Ferneze if he is asking for his money. Yes, Ferneze says, and the other Jews as well.
Barabas knows that Ferneze is asking—or rather telling—the Jews to pay the tribute bill. Barabas is feigning ignorance when he says that the Jews are not soldiers and cannot possibly help to fight off the Turks. He says it is better to pay the money and avoid a fight, but he really has no intention of offering any of his own wealth to help, which again harkens to Barabas’s greed and selfishness.
Themes
The Jewish men immediately protest. Barabas asks if “strangers” are the only people who will be taxed, or if Ferneze intends to tax everyone equally. Ferneze says he will only tax the Jews, as Malta suffers for the Jews’ “hateful lives.” The Jews alone “stand accursèd in the sight of heaven,” so Ferneze will tax only them. As Ferneze stops speaking, an officer reads the official decree. The Turks’ tribute money will be imposed on the Jews only, and each Jew must pay half of their total wealth. If they refuse to pay, they will forfeit all their wealth and must convert to Christianity.
Barabas refers to the Jews as “strangers” because they are considered foreigners in Malta rather than genuine citizens. This bias again underscores the anti-Semitism of the time, especially since Ferneze expects only the Jews to foot the bill. Ferneze’s bigotry is on full display when he calls the Jews “hateful” and claims they “stand accursèd,” meaning the Jews were responsible for Christ’s crucifixion and are therefore damned. Ferneze exploits the Jews for money in the name of religion, which underscores his greed, hypocrisy, anti-Semitism, and his use of Machiavellian tactics.
Themes
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Ferneze turns to Barabas and asks if he will convert to Christianity. No, Barabas answers, and he will not give Malta half his wealth either. Barabas’s wealth is worth more than half of the city, and he will not willingly hand it over. Then we will take it all, Ferneze responds. “Corp di Dio (Body of God),” Barabas cries, finally agreeing to pay. It is too late, Ferneze says. Barabas refused, and now Malta will seize his entire estate.
Notably, Ferneze is not simply exploiting the Jews, he is actively trying to convert them, thereby decreasing the number of Jews in Maltese society. Barabas blasphemes when he cries “Body of God.” This expression again underscores Barabas’s own religious hypocrisy—he cites his Jewish identity but has no problem taking God’s name in vain.
Themes
Barabas is shocked and asks if Ferneze plans to steal his gold on the grounds of religion. No, Ferneze says, he simply plans to take from the Jews to save Malta. It is for the greater good, Ferneze continues, and Barabas should freely give to save Malta. Plus, it is only money, and Barabas can make more. Nothing comes from nothing, Barabas reminds Ferneze, but one of Ferneze’s knights interrupts. “’Tis not our fault,” the knight says, “but thy inherent sin.” Barabas is furious. He says that Ferneze and his men use scripture to justify their wrongs and then steal from the Jews. Barabas admits that “some Jews are wicked,” but he says that “all Christians are [wicked].” Christians condemn Jews for their “sin” and still claim to be righteous.
Here, Barabas blatantly calls Ferneze and the Christians hypocrites. The knight again refers to the Jews’ “inherent sin” (Christ’s crucifixion), and Barabas points out the Christians’ claim to righteousness and the forgiveness of sins. If the Jews truly are responsible for Christ’s death, Barabas implies, the Christians should forgive this sin, but they don’t. Instead, the Christians marginalize and mistreat the Jews, and then they expect them to willingly give up their fortunes to support the same nation that largely rejects them. In Barabas’s estimation, this makes “all Christians” wicked, as compared to only “some Jews.”
Themes
Ferneze immediately dismisses Barabas, saying that all of Malta knows how Barabas obtained his wealth. If Barabas is truly worried about righteousness, he should go quietly about rebuilding his wealth. “Excess wealth is cause of covetousness,” Ferneze says, “And covetousness, oh ‘tis a monstrous sin.” Barabas insists that stealing is worse, especially since it will only force him to steal to recover his wealth. The knight again interrupts and suggests they also seize Barabas’s mansion and turn it into a nunnery. Ferneze agrees, and another officer enters and reports they have secured Barabas’s wealth, which is worth more than all of Malta’s wealth combined. They have secured the money from the other Jews as well, the officer adds.
Ironically, Ferneze claims that “excess wealth” and “covetousness” is a “monstrous sin,” but his men still collect the money from the other Jews even though they have enough from Barabas alone. Malta doesn’t need the other Jews’ money to pay the tribute, but they take it, which speaks to Malta’s corruption, anti-Semitism, and hypocrisy. Turning Barabas’s house into a nunnery adds insult to injury—not only does he lose his home; it is now symbolic of the very religion that despises and persecutes him.
Themes
Barabas asks Ferneze if he plans to take Barabas’s life, too, since Ferneze has taken all his gold, but Ferneze claims he would never resort to such violence. This, however, does not comfort Barabas. Poverty is worse than death, and there is nothing left for Abigail. Ferneze tells Barabas that he should feel good about their agreement—it is “right,” he says. Ferneze calls his officers and tells them it is time to gather the money for the Turks. Yes, the knight says, they must pay immediately. If they are late, they will “break the league, / And that will prove but simple policy.”
Clearly, Barabas values his gold over his life, as he believes that poverty is worse than death. Ferneze’s claim that his decision is “right” again underscores his bigotry and highlights his personal manipulation of religion and holy scripture to persecute the Jews. The knight’s claim that breaking the league with the Turks would be “simple policy” implies that going back on the deal would be senseless and corrupt, as to do so would be a betrayal and violates the covenant between Malta and Turkey, even if it is a bad deal.
Themes
“Ay, policy,” Barabas says to the other Jews as Ferneze and his men exit, “That’s their profession.” The other Jews try to calm Barabas down, but he will not listen to them. They said nothing as Ferneze took his wealth, so Barabas does not want to hear them now. Perhaps Ferneze would not have taken all he did if the others had not given in so easily. The other Jews beg Barabas to “remember Job.” Barabas laughs. Job was not nearly as rich as he was. Barabas asks the others to leave him, and they exit.
Barabas says “policy” is Ferneze’s “profession” because Ferneze, presumably, regularly resorts to corrupt and dishonest means in the running of Malta. This accusation suggests that Machiavellian tactics are frequently employed in matters of state, even if such corruption is not openly admitted. Job is a biblical figure and prophet to the Gentiles (those who are not Jewish). When the Jews ask Barabas to “remember Job,” they are asking him to be patient and tolerant of the Christians, but Barabas refuses and will not lose his money.
Themes
As the Jewish men exit, Barabas marvels at how simple they are. Barabas was born to be better than such “common men,” and he will not let Ferneze get in his way. Abigail enters in hysterics. She offers to go to the senate-house, cry at their feet, and rip out her hair until they right the wrongs done onto him. Barabas says that there is nothing that can be done, but he does have a large cache of gold hidden in the floorboards of his mansion that will go a long way in rebuilding his wealth. Abigail breaks the news that she was kicked out of the house to make room for the nuns. The mansion has been seized, and Barabas will not be permitted back, not even for his personal possessions.
Barabas’s belief that he is better than the other Jews because of his wealth underscores the power of money in Maltese (and, by extension, English) society. Barabas is not “common” like the other Jews, he is rich, and he will get his money back no matter what it takes. Barabas’s cache of hidden gold again speaks to his greed, and Ferneze’s refusal to allow Barabas back in the house and his remorselessness in kicking Abigail out further reflects Ferneze’s Machiavellian tactics and suggests corruption is commonplace in matters of state.
Themes
Literary Devices
Barabas begins to lament his plight and does not know what he has done to deserve such poor treatment. He knows people will expect him to just hang himself, but Barabas refuses to give in at any cost. He turns to Abigail. “We ought to make bar of no policy,” Barabas says and tells Abigail to go back to the house and ask to be accepted as a nun, so she can get at the gold hidden under the floorboards. “For religion / Hides many mischiefs from suspicion.” Abigail resists. Such deceit is not right, she says, but Barabas convinces her. “Counterfeit passion is better / Than unseen hypocrisy,” he says.
When Barabas tells Abigail that they “ought to make bar of no policy,” he implies that they should employ Machiavellian tactics, too, just like Ferneze and the Maltese government. Barabas’s claim that religion “hides many mischiefs from suspicion” harkens to Ferneze’s own use of religion to justify his abuse of the Jews, and Barabas asks Abigail to do the same and join the convent under false pretenses. Such deceit, or “counterfeit passion” is not nearly as sinful as Ferneze’s religious “hypocrisy,” Barabas implies.
Themes
As Barabas and Abigail talk, Friars Jacomo and Bernardine pass by with two nuns and the Abbess on their way to the new convent. Abigail stops the Abbess and, claiming to be but “the hopeless daughter of a hapless Jew,” asks if she might be admitted to the nunnery. Jacomo looks to Bernardine. Abigail’s desire comes from “the spirit,” Jacomo says. “Ay, and of a moving spirit too, brother,” Bernardine answers. The Abbess agrees to take Abigail to the nunnery, and Barabas feigns anger over Abigail’s conversion, sending her out of his sight.
Abigail’s claim that she is “the hopeless daughter of a hapless Jew” reflects society’s bias, as she expects the Abbess to take pity on her because she is Jewish. This line also mirrors a line from Thomas Kyd’s famous play, The Spanish Tragedy, in which the play’s protagonist, Hieronimo, claims to be “the hopeless father of a hapless son.” Kyd and Marlowe were contemporaries and roommates for a time, and these similar lines underscore the influence the two playwrights clearly had on one another. Bernardine’s reference to Abigail’s “moving spirit” is vaguely sexual and suggests the friars are interested in Abigail in a sexual way, which violates their priestly vows and exposes the friars’ own hypocrisy.
Themes
As Abigail and Barabas exit with the Abbess and Friars Jacomo and Bernardine, Don Mathias, a local Christian, enters. He is shocked to see that Barabas’s daughter has become a nun. Abigail is better suited for a “lover’s arms” than a nunnery, Mathias claims, as Don Lodowick, Ferneze’s son, enters behind him. Lodowick asks Mathias why he looks so upset, and Mathias says he has just watched the most beautiful woman—the daughter of Barabas the Jew—become a nun. Lodowick’s interest is piqued. If she is really that beautiful, Lodowick says, he and Mathias will go visit her soon. Mathias agrees, and the two men exit.
Both Mathias and Lodowick appear romantically interested in Abigail. Mathias’s comment that Abigail is better suited for a “lover’s arms” implies that he wants to be that lover, and his disappointment at her religious vows further reflects his feelings for her. Mathias presumably knows Abigail, but Lodowick is only interested in her because he has heard she is beautiful, which suggests he is quite superficial. Mathias and Lodowick appear to be friends, and it is obvious that Mathias is in love with Abigail, yet Lodowick doesn’t hesitate to steal Abigail away from his friend, again underscoring the thread of betrayal that runs throughout the play.
Themes
Literary Devices
