The Nose Plays: Nasiform Negotiations at Newington Butts

The Nose Plays: Nasiform Negotiations at Newington Butts

Shakespeare’s Shylock, Marlowe’s Barabas, and other Jewish characters are often thought to have been portrayed on early modern stages with a large false nose. This essay will explain how this commonplace view began as a falsified proposition by John Payne Collier in 1836, which subsequent scholarship has failed to properly dispel, instead projecting a post-Enlightenment stereotype onto early modern culture. I argue that by studying the use of the false nose in recycled fashion across contiguous plays in repertory it becomes possible to recognise that this stage property called on its audiences to negotiate its meanings from a range of possible sources, including the other plays in the same sequence. Using the repertory of the Lord Admiral’s Men and Lord Chamberlain’s Men at Newington Butts in 1594, I discuss some of the ways in which the stage nose represented villainy, risibility, and ribaldry without necessarily signifying Jewishness at this time. That Barabas could signify all of these things and also be a Jew may nevertheless have contributed to later generations identifying the nose as one of the stereotypical features of the early modern depictions of Jews on stage.

Files associated with this item cannot be displayed due to copyright restrictions.