"This exciting new edition of Edward II is indeed reader friendly. Of particular distinction are the introductory sections which include a thorough account of Marlowe's biography, a fresh critical examination of the play, plus a bibliography for further reading; a wise consideration of the date and text; and extensive annotations, especially helpful to students who have difficulties with the language. Of special value to both students and scholars are the Related Texts that follow the text of the play: three sections of documentary evidence on historical sources; power and politics; and love, friendship, and homoeroticism--all vital to an understanding of the play. No previous edition of the play manages to encompass so much." --Robert A. Logan, University of Hartford
The dramatic life and mysterious death of the reviled Edward II, focusing on the vivid personality of the erratic and contradictory king, his unorthodox lifestyle and his passionate relationships with his male favourites, including Piers Gaveston
During his lifetime and the four centuries following his death, King Edward II (1307-1327) acquired a reputation for having engaged in sexual and romantic relationships with his male favourites, and having been murdered by penetration with a red-hot spit. This book provides the first account of how this reputation developed, providing new insights into the processes and priorities that shaped narratives of sexual transgression in medieval and early modern England. In doing so, it analyses the changing vocabulary of sexual transgression in English, Latin and French; the conditions that created space for sympathetic depictions of same-sex love; and the use of medieval history in early modern political polemic. It also focuses, in particular, on the cultural impact of Christopher Marlowe's Edward II (c.1591-92). Through such close readings of poetry and drama, alongside chronicle accounts and political pamphlets, it demonstrates that Edward's medieval and early modern afterlife was significantly shaped by the influence of literary texts and techniques. A 'literary transformation' of historiographical methodology is, it argues, an apposite response to the factors that shaped medieval and early modern narratives of the past.
Depicting with shocking openness the sexual and political violence of its central characters’ fates, Edward the Second broke new dramatic ground in English theatre. The play charts the tragic rise and fall of the medieval English monarch Edward the Second, his favourite Piers Gaveston, and their ambitious opponents Queen Isabella and Mortimer Jr., and is an important cultural, as well as dramatic, document of the early modern period. This modernized and fully annotated Broadview Edition is prefaced by a critical but student-oriented introduction and followed by ample appendix material, including extended selections from Marlowe’s historical sources, texts bearing on the play’s complex sexual and political dynamics, and excerpts from contemporary poet Michael Drayton’s epic rendition of Edward the Second’s reign.
Edward II is a play by Christopher Marlowe, an Elizabethan playwright. The play tells the story of King Edward II and his love for his male favorite, Gaveston. It is a powerful and poignant exploration of same-sex love and the politics of power. This edition, edited by William Dinsmore Briggs, includes extensive notes and commentary on the play's language, imagery, and historical context. This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work is in the "public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
Edward II is, in a sense, Bertolt Brecht's only tragedy. Based on Christopher Marlowe's classic of the same name, it departs from its source as widely as The Threepenny Opera departs from Gay's Beggar's Opera. Brecht has made a multitude of technical changes calculated to streamline the play, with a smaller cast and simpler action, and he has created virtually new and totally compelling characters with his extravagant variations on Anne, Edward's queen, and Mortimer, the villain of the piece. Brecht also reinterprets Marlowe's famously homosexual protagonist, creating an Edward initially more crudely homoerotic and ultimately more truly heroic. Brecht's Edward is a hero for the modern era: an existential hero defying a meaningless universe with his courage.
The Vita Edwardi Secundi is the best and most readable of the chronicles of the reign of Edward II, and throws a fascinating light on the world of high politics. The anonymous author was close to the centre of politics, probably a royal clerk, and possibly John Walwayn (or someone with a similar career). His focus is largely on domestic politics and the relationship of the king and his barons, and he records the clashes and reconciliations of the period 1311-22 in valuabledetail. He also has much to say on the Scottish war, the appointment of bishops, and the outbreak of the French war. The work ends in the winter of 1325/6 with Queen Isabella's refusal to return from France while Despenser remained with the king.The work is much more than a simple chronicle. The author consciously wrote history and so commented extensively on personalities, and also on causation, motivation, and the vices of his age. He was generous to Gaveston despite his pride, more condemning of the Despensers' greed, and lamented Lancaster's wasted gifts. His reports on the arguments of both sides in the clashes between the king and his opponents are particularly enlightening, and show how serious were the threats to the king'sauthority, especially those voiced in 1321. The author's fear of civil war and attempts to define the fine line dividing resistance and treason probably reflect the concerns of many close to the court at that time.Recent research has emphasized that the Vita should be seen as a 'journal' rather than a 'memoir', and this enhances its value further, allowing historians to chart the changing views of a well-placed observer during the dramatic events of Edward's reign.The Vita has been edited three times before, once in each century since its discovery in 1728, but the last edition of 1957 has long been out of print. This new edition revises the Latin text and translation, provides a completely new introduction and historical notes to take account of recent scholarship, and includes a new and full apparatus and indices.
In chess, from the time of Queen Isabella of England, the queen has been considered the most powerful and feared piece on the board. Known to chroniclers as the 'she-wolf', Isabella, daughter of Philip IV of France, married King Edward II of England in 1308 in a union intended to create a lasting peace between the two countries. But after 13 years of enduring her husband's unkind and dissolute nature she fled abroad. With her lover, the exiled Roger Mortimer, she raised an army of mercenaries and invaded England, successfully deposing Edward. Popular belief holds that Edward was murdered in an infamous manner at Berkeley Castle near Gloucester, at the order of his wife and her lover. But after Mortimer's execution a letter arrived at court that cast doubt over Edward's death and raised the possibility of his escape. The evidence remains controversial to this day, and here Paul Doherty examines it in his fascinating detective study, set in one of the most turbulent and exciting periods of English history.
