"Shylock in William Shakespeare's ""The Merchant of Venice"" and Barabas in Christopher Marlowe's ""The Jew of Malta"". In a series of articles called ""Observer"", first published in 1785, Cumberland created a character named Abraham Abrahams who would later serve as a template for Sheva, the title character in ""The Jew"". In one instalment of ""Observer"", Abrahams is quoted as saying, ""I verily believe the odious character of Shylock has brought little less persecution upon us, poor scattered sons of Abraham, than the Inquisition itself."" A decade later, in writing ""The Jew"", Cumberland sought to create a positive image of a"
"apparently belonged to impresario Philip Henslowe, since the cited performances occurred when the companies mentioned were acting for Henslowe.) In 1601 Henslowe's diary notes payments to the Admiral's company for props for a revival of the play. The play remained popular for the next fifty years, until England's theaters were closed in 1642 (see English Renaissance theatre). In the Caroline era, actor Richard Perkins was noted for his performances as Barabas when the play was revived in 1633 by Queen Henrietta's Men. The title page of the 1633 quarto refers to this revival, performed at the Cockpit Theatre. The play"
"character Machiavel, a Senecan ghost based on Niccolò Machiavelli, introducing ""the tragedy of a Jew."" Machiavel expresses the cynical view that power is amoral, saying ""I count religion but a childish toy, / And hold there is no sin but ignorance."" Barabas begins the play in his counting-house. Stripped of all he has for protesting the Governor of Malta's seizure of the wealth of the country's whole Jewish population to pay off the warring Turks, he develops a murderous streak by, with the help of his slave Ithamore, tricking the Governor's son and his friend into fighting over the affections"
"Richard Perkins (actor) Richard Perkins (died 1650) was a prominent early seventeenth-century actor, most famous for his performance in the role of Barabas in Christopher Marlowe's ""The Jew of Malta"". At the peak of his career in the 1630s, many contemporaries judged Perkins to be the premier tragedian of his generation. Nothing is known of Perkins's early life; his birth has been estimated at about 1585, reading backward from the known facts of his biography. His stage career had begun by 1602, when he was a member of Worcester's Men; he remained with that company throughout its next incarnation as"
"often compared, Shylock and Barabas, are themselves profoundly different. Regardless of whether or not The Merchant of Venice was a direct influence, or merely a product of the contemporaneous society that they both were written in, it is noteworthy that Marlowe and Shakespeare were the only two British playwrights of their time to include a Jewish principal character in one of their plays. At the end of the play, Barabas attempts to murder his erstwhile Turkish allies by tricking them into falling through a trap door into a hot cauldron in a pit. In the end, it is Barabas who"
"The Jew of Malta The Jew of Malta (full title: The Famous Tragedy of the Rich Jew of Malta) is a play by Christopher Marlowe, written in 1589 or 1590. The plot primarily revolves around a Maltese Jewish merchant named Barabas. The original story combines religious conflict, intrigue, and revenge, set against a backdrop of the struggle for supremacy between Spain and the Ottoman Empire in the Mediterranean that takes place on the island of Malta. There has been extensive debate about the play's portrayal of Jews and how Elizabethan audiences would have viewed it. The play opens with the"
"on 20 April 1650, in the parish of St. James, Clerkenwell. According to James Wright's ""Historia Histrionica"" (1699), Perkins and fellow Queen's Man John Sumner were housemates: ""Perkins and Sumner of the Cockpit, kept house together in Clerkenwell, and were there buried."" (Sumner predeceased Perkins, and was buried on 24 May 1649.) Richard Perkins (actor) Richard Perkins (died 1650) was a prominent early seventeenth-century actor, most famous for his performance in the role of Barabas in Christopher Marlowe's ""The Jew of Malta"". At the peak of his career in the 1630s, many contemporaries judged Perkins to be the premier tragedian"
"Bones as Machevil/Ferneze, Kathryn Hunt as Abigail, Michael Grandage as Don Lodowick, Neal Swettenham as Don Mathias and Kieran Cunningham as Ithamore/2nd Merchant. The Jew of Malta The Jew of Malta (full title: The Famous Tragedy of the Rich Jew of Malta) is a play by Christopher Marlowe, written in 1589 or 1590. The plot primarily revolves around a Maltese Jewish merchant named Barabas. The original story combines religious conflict, intrigue, and revenge, set against a backdrop of the struggle for supremacy between Spain and the Ottoman Empire in the Mediterranean that takes place on the island of Malta. There"
"a full-length stage comedy written by Harold Brighouse in 1915. At the end of the play, the central character, Henry Horatio Hobson, formerly a wealthy, self-made businessman but now a sick and broken man, faces the unpalatable prospect of being looked after by his daughter Maggie and her husband Will Mossop, who used to be one of Hobson's underlings. His other daughters have refused to take him in, so he has no choice but to accept Maggie's offer which comes with the condition that he must surrender control of his entire business to her and her husband, Will. The play"
"role. The epic comedy-drama is noted as among the most heterodox of classic American comedies — it broke nearly every established theatrical convention. The phrase used as the title comes from the King James Bible, Job 19:20: ""My bone cleaveth to my skin and to my flesh, and I am escaped with the skin of my teeth."" The main characters of the play are George and Maggie Antrobus (from (anthropos), ""human"" or ""person""), their two children, Henry and Gladys, and Sabina, who appears as the family's maid in the first and third acts, and as a beauty queen temptress in"
"division that agrees with the conclusions of earlier researchers and commentators. A staging of the popular drama was attempted during the closure of the theatres in the period of the English Civil War and the Interregnum (1642–60); a production was mounted at the Salisbury Court Theatre on 6 October 1647, only to be broken up by the authorities. As the play's publication history shows, it was popular after the Restoration. Samuel Pepys saw the play repeatedly in the early Restoration period. Charles Hart was well known for his portrayal of the protagonist, Arbaces; the 1676 quarto included a cast list"
"The Digby Conversion of Saint Paul The Digby Conversion of Saint Paul (or The Conuersyon of Seynt Paule) is a Middle English miracle play of the late fifteenth century. Written in rhyme royal, it is about the conversion of Paul the Apostle. It is part of a collection of mystery plays that was bequeathed to the Bodleian Library by Sir Kenelm Digby in 1634. The action is in three well-defined parts, often, following medieval practice, referred to as ""stations"". Each of these stations is introduced and concluded by ""Poeta"" (Latin for poet). The first station represents Jerusalem. After the prologue"
"Sémiramis (tragedy) Sémiramis (1746) is a tragedy in five acts by Voltaire, first performed in 1748 and published in 1749. The plot is very similar to that of Voltaire's earlier unsuccessful tragedy ""Ériphyle"". The action takes place in a courtyard in front of the palace of Sémiramis in Babylon, in front of the Hanging Gardens. Sémiramis, after having her husband Ninos poisoned, now rules the Babylonian Empire. She now decides to marry the stranger Arsace instead of Assur, Prince of the Bélus. Arsace learns that he is in fact Ninias, the son, presumed dead, of Sémiramis and Ninos. Assur tries"
"Barabbas (novel) Barabbas is a 1950 novel by Pär Lagerkvist. It tells a version of the life of Barabbas, the man whom the Bible relates was released instead of Jesus. The novel is built on antithesis: Jesus dies first among the three crucified – Barabbas dies last. Jesus dies among several of his friends – Barabbas dies alone. Jesus talks to God – Barabbas talks to the darkness. The novel starts with Jesus' crucifixion and ends with Barabbas' crucifixion in Rome. Jesus is crucified on Mount Golgotha. To the side of the crowd stands Barabbas. A violent man, a brigand,"
"Cromwell. In the 16th and early 17th centuries, Jews were often presented on the Elizabethan stage in hideous caricature, with hooked noses and bright red wigs. They were usually depicted as avaricious usurers; an example is Christopher Marlowe's play ""The Jew of Malta"", which features a comically wicked Jewish villain called Barabas. They were usually characterised as evil, deceptive, and greedy. During the 1600s in Venice and in other places, Jews were required to wear a red hat at all times in public to ensure that they were easily identified. If they did not comply with this rule, they could"
"the rise of a craftsman to Mayor and the involvement of an unnamed but idealised king in the concluding banquet. ""Old Fortunatus"" and ""Patient Grissel"", the latter on the folkloric theme treated by Chaucer in The Clerk's Tale. In 1600, he worked on ""The Seven Wise Masters"", ""Fortune's Tennis"", ""Cupid and Psyche"", and ""Fair Constance of Rome"". The next year, in addition to ""Satiromastix"", he worked on a play possibly about Sebastian of Portugal and ""Blurt, Master Constable"", on which he may have worked with Thomas Middleton. In 1602 he revised two older plays, ""Pontius Pilate"" (1597) and the second"
"The nobles oppose Fergus, thinking of him as a foreign invader. Arostus says that Parliament must decide upon a new King. Eubulus bemoans the chaos that has happened to the country and says that Parliament should have been called while the King was alive, but that justice will eventually prevail. Gorboduc (play) The Tragedie of Gorboduc, also titled Ferrex and Porrex, is an English play from 1561. It was first performed at the Christmas celebration given by the Inner Temple in 1561, and performed at Whitehall before Queen Elizabeth I on 18 January 1562, by the Gentlemen of the Inner"
"Barabbas Barabbas (; ""Bar ʾAbbaʾ"", literally ""son of the father"") is a figure mentioned in the New Testament of the Bible, in which he is an insurrectionary held by the Roman governor at the same time as Jesus, and whom Pontius Pilate freed at the Passover feast in Jerusalem, while keeping Jesus as a prisoner. According to all four canonical gospels there was a prevailing Passover custom in Jerusalem that allowed or required Pilate, the """" or governor of Judea, to commute one prisoner's death sentence by popular acclaim, and the ""crowd"" (""ochlos""), ""the Jews"" and ""the multitude"" in some"
"was revived by Edmund Kean at Drury Lane on 24 April 1818. The script of this performance included additions by S. Penley. It was considered a successful production at the time. However, in an anonymous biography of Kean published seventeen years later, it suggests that the success of the production came from Kean's performance and his addition of a song to the role of Barabas, and that the play itself, on its own, was a failure. On 2 October 1993, Ian McDiarmid starred as Barabas in a BBC Radio 3 adaptation of the play directed by Michael Fox, with Ken"
"of fire, knives and hammers. The blow of mercy comes when Barbara is beheaded by her own father. Buhez Sante Barba Buhez Sante Barba (""The Life of Saint Barbara"") is a mystery play in Middle Breton verse on the life and miracles of the martyr saint Barbara, daughter of King Dioscurus of Nicomedia. It first appeared in print in 1557. Barbara, who has secretly embraced the Christian faith, is carefully guarded by her pagan father, who keeps her shut up in a tower in order to preserve her from the outside world. Barbara convinces the builders of her prison to"
"critical edition: the play was performed in the 1620s in different versions and finally published as part of an anthology by Vera Tassis in 1637. Following on its heels is ""El Macabeo"" (Naples, 1638), a Castilian epic by the Portuguese Marrano Miguel de Silveyra. Two other 17th century works are ""La chevalerie de Judas Macabé"" by French poet Pierre du Ryer (c. 1600–1658) and the anonymous neo-Latin work ""Judas Machabaeus"" (Rome, 1695). Handel wrote his ""Judas Maccabaeus"" oratorio (1746) on the subject. There has been interest in Judah in every century. ""Giuda Macabeo, ossia la morte di Nicanore..."" (1839), is"
"scene, Laertes applies poison to his rapier in order to kill Hamlet, but Hamlet ends up killing Laertes with that same poisoned rapier. And in the end, he kills Claudius with the same rapier and poisoned wine that were Claudius's intended weapons against Hamlet. Ironic reversal was well-known in sixteenth-century England, and Elizabethan theatre inherited the tradition from both Latin comedy and Christian thought. It was so common as to constitute convention, and an early example is from ""The Jew of Malta"" (1589–90): Barabas the Jew lays a trap involving a collapsing floor but falls through it himself and lands"
"an associate of Caiaphas during an argument over Judith, Caiaphas has Barabbas arrested by Roman soldiers. Then as Barabbas is led away, Caiaphas kills the injured man to prevent him from revealing the plot, and Barrabas is blamed for the crime. Sometime later, Judith at the urging of Caiaphas convinces Judas Iscariot, who is her brother, to betray Jesus, which allows Caiaphas to have Jesus arrested. Barrabas in the meantime has been freed, but is arrested a second time when he makes an attempt on the life of Caiaphas, and Barrabas ends up being held in the same prison as"
"including the Italian Malateste, and on the other a number of disenchanted Spanish noblemen who are in sympathy with the King's former betrothed lover, Onaelia. This later faction, led by the Duke of Medina, eventually includes the key figure of the patriotic soldier Balthazar, a man who has earned respect for his martial exploits and whose ‘nobility’, as celebrated in the title to the play, is a tribute earned by action rather than by birth or inheritance. He is thus differentiated from the King, whose nobility of birth is cancelled out by the dishonesty of his character. Nevertheless, Balthazar is"
"works wonders, and Rádiós comes to know his actual surroundings on Earth. She saves the attic with her heroism, and attracts Rádiós's attention. Mamóka (; ""Grandma""), old lady, who knows everything about people: the mother of Rádiós, but she doesn't have any grandchildren, although she would like to have. She can cook especially delicious Hungarian Plum Dumplings. Eventually everybody becomes like grandchildren to her. Barrabás B. Barrabás (), the gangster: he was born on March 26, 1963, and is a bomb expert. He breaks into the attic, and starts the conflict of the play. After his death the personality of"
"what the texts themselves present. The author admits that certain of Barabas' features are troublesome vis-à-vis anti-Semitism, such as his large and often-referenced nose, but suggests that such surface details are not important. If one looks past the surface, it is argued, the play can be seen as uniting all three religions it represents—Judaism, Islam, and Christianity—by way of their mutual hypocrisy. These examples illustrate, though not fully, the breadth of opinions expressed on the subject. Complicating the accusations of Marlowe's anti-Semitism, there has been significant scholarly dissension about the authorial nature of the text of the play. These reactions"
"Alexander Balus Alexander Balus (HWV 65) is an oratorio by George Frideric Handel, named after its title character, the Seleucid king Alexander Balas. The work has three acts and was written in English. The period of the story is from 150 B.C to 145 B.C. The libretto is by Thomas Morell after the biblical book of 1 Maccabees. Fourth in a series of English military oratorios, following ""Joshua"" and the success of ""Judas Maccabaeus"", celebrating the victories of the Hanoverian monarchy over the Jacobite uprisings, the work moves from celebrations of military success in the first act to personal tragedies"
"Comedy, Dante sees his spirit in the Heaven of Mars with the other ""heroes of the true faith"". In Shakespeare's Love's Labour's Lost, he is enacted along with the other Nine Worthies, but heckled for sharing a name with Judas Iscariot. Most significant works dedicated solely to him date from the 17th century onwards. William Houghton's ""Judas Maccabaeus"", performed in about 1601 but now lost, is thought to have been the first drama on the theme; however, ""Judas Macabeo,"" an early ""comedia"" by crucial Spanish playwright Pedro Calderón de la Barca is extant. Fernando Rodríguez-Gallego details its history in his"
"the play, with somewhat varying results (one version was produced by Antonio Urceo in the late 15th century, another by Martinus Dorpius in the early 16th century). The figure of the miser has been a stock character of comedy for centuries. Plautus does not spare his protagonist various embarrassments caused by the vice, but he is relatively gentle in his satire. Euclio is eventually shown as basically a good-hearted man who has been only temporarily affected by greed for gold. The play also ridicules the ancient bachelor Megadorus for his dream of marrying the nubile and far younger Phaedria. The"
"of 1623. Elements of the text, such as the uncommonly detailed stage directions, lead some Shakespeare scholars to believe the text was prepared from a theatrical prompt book. A. C. Bradley described this play as ""built on the grand scale,"" like ""King Lear"" and ""Macbeth,"" but it differs from those two masterpieces in an important way. The warrior Coriolanus is perhaps the most opaque of Shakespeare's tragic heroes, rarely pausing to soliloquise or reveal the motives behind his proud isolation from Roman society. In this way, he is less like the effervescent and reflective Shakespearean heroes/heroines such as Macbeth, Hamlet,"
"Baxter, Thomas Hobbs, Rowland Dowle and ""Nick"" (who could have been Nicholas Burt or Nicholas Underhill). The action of the play begins in 169 BC, 22 years after Antiochus's defeat in the Battle of Thermopylae. (The historical Antiochus III died in 187). As the first scene opens, Antiochus is approaching the city of Carthage, accompanied by the Stoic philosopher who is his counsellor, and three servants. After living concealed and in obscurity since the battle, Antiochus is now trying to regain his lost crown; he has come to Carthage, a traditional enemy of Rome, in search of support. He discusses"
"tow, she finds herself drawn to Linus Larrabee, whose intelligence, lack of sentimentality, and knowledge of the world stimulates her. She, out of all the Larabees, sees something about Linus. When it's revealed that Sabrina's father has amassed a fortune on the stock market over the past decades, she wants to return to Paris that she feels is her home. Linus as her financial, as well as intellectual, equal causes her to fall in love permanently with Linus. The title cites John Milton's song from his masque ""Comus"" (1634), which is quoted in the play: With its patrician setting, witty"
"Buhez Sante Barba Buhez Sante Barba (""The Life of Saint Barbara"") is a mystery play in Middle Breton verse on the life and miracles of the martyr saint Barbara, daughter of King Dioscurus of Nicomedia. It first appeared in print in 1557. Barbara, who has secretly embraced the Christian faith, is carefully guarded by her pagan father, who keeps her shut up in a tower in order to preserve her from the outside world. Barbara convinces the builders of her prison to put in three rather than two windows. When her father finally learns that the three windows are intended"