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 of Caernarfon is best known today for his disastrous military defeat in 1314 at Bannockburn, where his English army was defeated by a vastly inferior Scottish force led by Robert the Bruce, leading to Scottish Independence. This catastrophe was one of many in a disastrous career marked by indolence, vengefulness, vacillation in relationships with France, deranged policies at home, and constitutional wrangling, ultimately brought to an end by a minor insurgency led by his vindictive wife and her paramour, a disaffected baron.
'He seems to have laboured under an almost child-like misapprehension about the size of his world. Had greatness not been thrust upon him, he might have lived a life of great harmlessness.' The reign of Edward II was a succession of disasters. Unkingly, inept in war, and in thrall to favourites, he preferred digging ditches and rowing boats to the tedium of government. His infatuation with a young Gascon nobleman, Piers Gaveston, alienated even the most natural supporters of the crown. Hoping to lay the ghost of his soldierly father, Edward I, he invaded Scotland and suffered catastrophic defeat at the Battle of Bannockburn. After twenty ruinous years, betrayed and abandoned by most of his nobles and by his wife and her lover, Edward was imprisoned in Berkeley Castle and murdered - the first English king since the Norman Conquest to be deposed.
When was feminism born - in the 1960s, or in the 1660s? For England, one might answer: the early decades of the seventeenth century. James I was King of England, and women were expected to be chaste, obedient, subordinate, and silent. Some, however, were not, and these are the women who interest Barbara Lewalski - those who, as queens and petitioners, patrons and historians and poets, took up the pen to challenge and subvert the repressive patriarchal ideology of Jacobean England. Setting out to show how these women wrote themselves into their culture, Lewalski rewrites Renaissance history to include some of its most compelling - and neglected - voices. As a culture dominated by a powerful Queen gave way to the rule of a patriarchal ideologue, a woman's subjection to father and husband came to symbolize the subjection of all English people to their monarch, and all Christians to God. Remarkably enough, it is in this repressive Jacobean milieu that we first hear Englishwomen's own voices in some number. Elizabeth Cary, Aemilia Lanyer, Rachel Speght, and Mary Wroth published original poems, dramas, and prose of considerable scope and merit; others inscribed their thoughts and experiences in letters and memoirs. Queen Anne used the court masque to assert her place in palace politics, while Princess Elizabeth herself stood as a symbol of resistance to Jacobean patriarchy. By looking at these women through their works, Lewalski documents the flourishing of a sense of feminine identity and expression in spite of - or perhaps because of - the constraints of the time. The result is a fascinating sampling of Jacobean women's lives and works, restored to their rightful place in literary historyand cultural politics. In these women's voices and perspectives, Lewalski identifies an early challenge to the dominant culture - and an ongoing challenge to our understanding of the Renaissance world.
