Abigail, Barabas' daughter in Christopher Marlowe’s The Jew of Malta, carries a name that sardonically signifies "joy of the father." Her biblical origins trace back to mentions in 2 Samuel 17:25 and 1 Chronicles 2:16-17, where she is depicted as either the sister or half-sister of David.
Amidst the ambiguity of motives in the play, Abigail stands out as a figure of unwavering mercy, kindness, and devotion. She exhibits these qualities first towards her father, then towards her lover, and ultimately towards God. In embodying these sacred traits of early modern femininity,1 Abigail showcases a devotion that is not synonymous with unconditional obedience. She demonstrates a capacity for self-defense, reminiscent of Isabella, even against her own father.
Initially, Marlowe seemingly portrays an intact family relationship between Abigail and Barabas. However, this illusion is shattered when Barabas manipulates Abigail into posing as a nun, a ruse designed to further his own interests. The revelation of Barabas’s scheme, which involves promising his daughter to two men simultaneously in the hope that they will eliminate each other for her, exposes the callousness of his character. Abigail’s emotional turmoil is disregarded by her father, who views her entrance into the convent not as a response to his plans or the loss of her lover, but as a shameful betrayal. In a cruel twist reminiscent of Calyphas, Abigail becomes a victim of her father’s machinations, underscoring Marlowe’s critique of capitalism’s excesses.2 She is commodified by Barabas, negotiated with Lodowick3, and ultimately replaced with Ithimore once her utility wanes.4