The various schemes of enclosure represented in and by The Jew of Malta carry within them the traces of a potential for wild proliferation, which may be the source of the play's savage humor.(26) Marlowe presents in Barabas
a figure who submits with ludic abandon to the imperative of profit and acquisition, to a policy which demands that nothing be lost, that even the sheer accidents of plot be appropriated, enclosed, and put into an investment.
Like my earlier study of the nature of information in progress reports (Barabas
1990), my study of CYA is designed as a long-range, integrative project involving several interrelated phases (or mini-studies), each with its own objectives and methodologies.
This is the play, after all, in which Barabas
, another Rich Jew, confesses:
Tamburlaine, Faustus, and Barabas
are all gripped by a master passion, a Renaissance longing for infinite beauty or riches or power.
Pilate had asked: 'Christ or Barabas
?' The response thundered, 'Barabas
!' Are we all so desperate, so deceived?
Before the curtains part to uncover Barabas
sitting in his counting-house, Machiavelli speaks as an author (lecturer) and a Vice-figure, diahlo incamato.
Landreth's interest in the materiality of money prompts an examination of Barabas
from Marlowe's The Jew of Malta before returning to Spenser and Book Five's Talus as an instrument of brutality serving the larger social good.
Some reports indicate that Brand has dated Oriela Medellin and model Nikolett Barabas
since his split from Perry, but neither has been confirmed nor denied.
According to Hollywood Life, the 'Forgetting Sarah Marshall' star visited Hollywood's Shamrock Tattoo studio in the early hours of Saturday morning alongside his new girlfriend Nikolett Barabas
, and opted for the permanent removal of the inking, Contactmusic reported.
Hamlin, "Misbelief, False Profession, and The Jew of Malta" (125-34); Deborah Willis, "Doctor Faustus and the Early Modern Language of Addiction" (135-48); Christine McCall Probes, "Rhetorical Strategies for a locus terribilis: Senses, Signs, Symbols, and Theological Allusion in Marlowe's The Massacre at Paris" (149-66); John Parker, "Barabas
and Charles I" (167-84).
Early Shakespearean creations such as Aaron and Richard iii are certainly based on Marlovian 'villain-heroes' such as Tamburlaine, Barabas
, Faustus, and the Guise, with their dramatic contexts presumably suggesting a mingling of morality and tragedy; Logan somewhat tentatively suggests that 'pressures for novelty' and innovation underlie the (perhaps mutual) influence.
Murray Abraham had already committed to tackling two infamous Jewish stage characters, Barabas
in Christopher Marlowe's The Jew of Malta and Shylock in William Shakespeare's The Merchant of Venice--at the same time.