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The Course of Fortune Vol. 1, A Novel of the Great Siege of Malta - Kindle edition by Tony Rothman. Religion & Spirituality Kindle eBooks @ leondumoulin.nl
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To see what your friends thought of this book, please sign up. To ask other readers questions about The Course of Fortune Vol. Lists with This Book. This book is not yet featured on Listopia. Community Reviews. Showing Rating details. More filters. Sort order. Start your review of The Course of Fortune Vol. Jul 26, Christiane rated it it was amazing. Excellently written fiction based on actual historical people and events. Very entertaining and educational at once. I am desperately waiting for the other two volumes to be available as e-books.

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Keith Schwols rated it liked it Mar 16, Robert B Bonnell added it Sep 21, Alana Bleness marked it as to-read Apr 16, Justin added it Jul 11, Rusty Marcum marked it as to-read Jul 11, Michal marked it as to-read Sep 16, Ron marked it as to-read Oct 23, Anders marked it as to-read Mar 23, Grit Van is currently reading it Apr 08, Mike marked it as to-read May 16, Andrew Overby marked it as to-read Nov 16, The Jew of Malta, in particular, was very successful with audiences. Because of modern sensitivities concerning anti-Semitism, most directors have a difficult time finding an approach to this play.

One approach is to stage the play as farce, but even comedy cannot erase the message in the text. Plays are not meant to be read; they are designed to be seen and heard, and so it is worth considering whether any approach to this play might make it palatable to a modern audience. In presenting The Jew of Malta before a contemporary audience, the most significant problem is the depiction of Barabas.

Marlowe paints the Jew so vilely that he becomes almost a comic figure, but that is not how Marlowe intended the audience to view his Jew. But there are two sins they could not overlook. For the Elizabethan audience, conversion was one way to eliminate the image of the Jew as the crucifier of Christ.

In Elizabethan England, anti-Semitism was not racism. In the final act, Barabas is rewarded with the governorship of Malta. He has his riches, and he has the ultimate revenge on Ferneze: his job. But Barabas chooses to betray Calymath and destroy the city. But Barabas has no loyalty to Malta because he belongs to no country. By the late sixteenth century, the Jews had been exiled from many of the countries, in which they had settled, and they could claim no allegiance to any one country.

Current events could either enhance these problems or mitigate them.


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But a modern staging must confront its own political and social realities. Reviews of recent performances of The Jew of Malta reveal the difficulties in staging any modern production of this play.

The Great Siege of Malta in literature and historical fiction

According to Meyers, it does not matter if the popular depiction of the Jews is incorrect; the people will believe what they see and hear on stage because it is reinforced by popular myth. Marion D. The problem, Perret suggests, in staging a modern production of The Merchant of Venice is to create sympathy for Shylock. The result of this trend is that Barabas becomes more than an evil man who does evil things, but becomes evil because he is a Jew. An additional problem, according to Perrett, is the tendency of theatergoers to view all characters on stage as representative of a group.

In other cases, modern productions have made the Christians more evil, to mitigate the Jewish portrait of evil. Neither of these approaches would work well with The Jew of Malta. And Marlowe has already cast the Christians as evil; however, against the greater evil of Barabas, the negative depiction of the Christians is almost negated. In an interview with Carolyn D. Williams, Stevie Simkin discusses her attempts to force the audience to rethink the anti-Semitism in The Jew of Malta. In addition, it invited a reappraisal of the implications of reviving ideologically fraught texts such as The Jew of Malta in our time.

By using this format, Simkin offers a way to fight back against the anti-Semitism of the play.

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For instance, the actors portraying Jewish prisoners were given the means to fight their oppressors. But you cannot make us be what you think we are. This Nazi production was to be used as anti-Semitic propaganda. Instead, the actors reject their roles, and the audience is given an opportunity to reject the anti-Semitism of the play. Clearly, any attempt at a modern production of The Jew of Malta is handicapped by the destructive force of anti-Semitism in the twentieth century.

Source: Sheri E. When the London theatergoers of the s made the short river trip to the South Bank, they left behind them a place which displayed certain fixed features infrastructure, Protestant Christian ideology , and a place where the lives of the lawmakers and law-followers were affected by the political machinations of international relations and historical placement tension between London and Spain, proximity to the economically and ideologically important Netherlands.

Where they went, to the Rose or the Globe, were places with fixed features the walls, the stage, the galleries, Protestant Christian ideology and where the lives of those who performed, those who were portrayed, and those who watched were affected by the political and religious machinations in England and abroad the sensitivity of the Master of the Revels, dramatic fashion. Robert Wilson , Shakespeare, Chapman, William Haughton, and Marston all wrote plays in which a Jewish or Jew-like character played a leading role; and in all these cases, the Jew carries out the function of social critic, sometimes passive and meek, often angry and loud.

My familiar example will be the Jew of Malta, Barabas, and his slave, Ithamore. As an outsider, in terms of religion, nationality, and often enforced professional occupation, the Jew on the late-sixteenth-century stage becomes the center of a larger critique. That the amphitheaters were divided from the city, at a distance outside the walls, meant that the theatergoers could physically exit the contained city ideologies of London.

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What happened during the migration of persons between the two cities, London and amphitheater, is this: knowing themselves to be the very definition of the city cities are described by population figures , and the subjects and therefore very perpetuators of ideology, the playgoers deconstruct the city of London without destroying it.

The city of London as an ideological concept in the minds of the theatergoers is kept in limbo. Once in the South Bank theater these subjects,. The very idea of the Jew on the late-sixteenth-century stage makes the use of this figure as an associate of the Christian audience alarming, cunning, and subversive.

What is set up in The Jew of Malta is something that will be far less certain in The Merchant of Venice when it appears several years later. Something of the status of the appellation might be gleaned from the episode in which Pilia-Borza and Bellamira arrange with Ithamore to get money from Barabas.

Shylock, on the other hand, has reason for what he does. Whether it is good reason or not, it is certainly logical, and the Christians find themselves in need of a good non-Venetian mouthpiece to argue for their side. This mouthpiece, Portia, is another example of a figure from without who critiques the State she or he enters into, a State that to a greater or lesser extent marginalizes that character. This figure acts as a kind of guide to lead the audience through the stage world. This is the role played by Barabas.

Marlowe gives nothing away at the beginning. We should make a distinction here between the use of the Jew as a representative of Barabas, and the use of the Jew as a representative of Judas.

The Jew of Malta

Although standing for the anti-Christian race, this Jew of Malta does not stand for the specific betrayer, the damned Antichrist. Barabas names himself here, then, but that naming paradoxically takes away from specific identity, rather than adding to it. It only places him in a category.

MATURIN M. BALLOU

Stephen Greenblatt has spotted a conflict of identity in Barabas, a tug-of-war between hidden psychology and what is openly declared. But this steady erosion of himself is precisely what he has pledged himself to resist; his career, then, is in its very essence suicidal. The erosion of identity of the antagonists is an ancient requirement for tragedy. The audience will be left in a quandary: whether to support the admirable efforts of the disgusting Jew or the saving grace of the popish Catholics. And Ithamore, like Barabas, is a critical outsider and a stranger in so far as he was not brought up where he was born and is now taken to a foreign land against his will.

Ithamore possesses no loyalties in the conflicts that will occur, but is a pawn, a death-messenger. We could say that we are, ultimately, left with an infidel threat from a rich stranger and his servant, to a Christian strategic stronghold, the city of Malta. This viewpoint estranges the Jew, makes foreign the compact Barabas-Ithamore army, and instructs the audience to take the evil natures of the Jew and the Turk for granted. Marlowe gives the audience a fascinating choice over how to view the relationships here: either critical outsiders versus followers of anti-Christ or evil infidels versus Christians.

It is difficult to guess just how much the general theatergoing public knew or cared about the history of Malta and the legacy of the Knights of St.

If reports of the situation in Malta were reaching England in the s, as Godfrey Wettinger claims, the concern of the English that the strategically located island be sufficiently protected from the Turk must have been mixed. Malta had not seen significant military action since the Turkish attack of , the great Turkish invasions of Byzantium, Serbia, Morea, and elsewhere occurring in the fifteenth century. But the association of the Jew and the Turk was still a frightening anti-Christian force and the existence of a rich Jew in Malta was a horrendous thought, if we assume that to be rich is to be powerful.

It is located historically in and spatially outside the city walls. As I engage now with the analysis of a particular dramatic moment to put these proposals of place, relationship, and effect into practice, I should call a character witness to support my isolation of a scene for use as illustrative material.


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He is at this moment both physically and socially as a Jew and a foreigner an outsider. As such he is free to begin to decide on a way to reenter the city on his own terms, using the double level of identity that each audience member possesses—that of individual subject to the city, and ideological reinventor when outside the city boundary. This display of potentially subversive originality can be seen by an ideology locked within a city only as acting an unnatural part. In the South Bank theater the concept of the suburbs and of the danger of individual mental and physical liberty at this point becomes most highly charged.

The whole purpose of creating a text of laws and proclamations within a jurisdiction is to ensure conformity and equal behavioral acts from its subjects. If the subject leaves that jurisdiction, she or he is free to reassess laws. Multiple or en masse recognition of the place of the oppressed individual subject, possible only in the theater, is the beginning of the route to a common effective reaction against the city from without. It is the first step on a subversive path that leads right to the lawmakers and monarchs of the city or realm being critiqued. But in fact the theater creates a world in which the playgoers are homogenous analogues to the Jew.