Abstract

Barabas has been generally interpreted as the figure of European antisemitism as well as of the critique of Christianity. However, in a typical Marlovian style, Barabas’ grotesque figure solicits the reader’s further interpretation. Like his equally grotesque master Machiavel, Barabas is presented as the villain of the play. Yet, against the background of the crude representation of seventeenth-century politics stemming from murderous religious fights in Europe, Barabas’ guise, like a silenic mask, harbours a precious philosophical truth. Symbolised by the story of Barabas’ gold – first contemplated, then buried, then searched for, and eventually found – Marlowe’s truth is similar to Giordano Bruno’s natural philosophy that the dramatist could find in the Italian Dialogues published in London in 1584.