King Edward II ruled England for 20 years, from 1307 to 1327 (Britannica). His time as king was difficult, as he frequently faced opposition from the English nobility due to poor political decisions and his tendency to surround himself with "favorites" who distracted him from his duties (Bartels 147-148). Christopher Marlowe's 1591 play, The Troublesome Reign and Lamentable Death of Edward the Second, King of England, with the Tragi¬cal Fall of Proud Mortimer, commonly known as Edward II, is a dramatization of Edward II's rule. It begins with Edward recalling his favorite, Piers Gaveston, from exile in Ireland. This decision angers the Barons, members of the English nobility, who believe Gaveston will negatively influence Edward both politically and personally. This is confirmed in the Barons' eyes as Edward proceeds to ignore his duties and their advice in favor of spending time with Gaveston. The Barons soon force Edward to banish Gaveston back to Ireland to avoid a revolt from the Barons. However, this doesn't last long as the queen, Isabella, conspires with Mortimer Junior, a noble in Edward's court, to bring Gaveston back to England in order to kill him. Gaveston is executed soon after returning, and Edward kills his murderers in retribution, but is unaware of Isabella's contribution. Edward isolates himself from Isabella, who in response travels to France with Mortimer Junior and her and Edward's son to enlist France's aid in a campaign against the King. France refuses her, but she finds other allies and King Edward's army is defeated. Edward himself is taken prisoner and executed via a hot poker inserted into his anus. Isabella and Mortimer almost have their victory over the throne, but Edward and Isabella's son Edward III learns of his mother's plot and has her imprisoned and Mortimer Junior executed in retribution for their disloyalty to his father. Marlowe's Edward II depicts a complex dynamic between the King and his favorite, Piers Gaveston, that is romanticized, derided, and punished throughout, but the play's final act of revenge serves to legitimize their relationship in a way the rest of the narrative does not.
Throughout his time in the play, Gaveston's motives are not entirely clear, shifting between genuine affection for Edward and a more practical desire for status in the English nobility. In the opening scene, Gaveston laments his position as a person of "common" birth, saying,
"These are not men for me;
I must have wanton poets, pleasant wits.
Musicians, that with touching of a string
May draw the wanton King which way I please" (Marlowe 1.1.50-53)
Even before we see any interaction between Gaveston and Edward, we see that Gaveston's intentions are not entirely pure; he doesn't dream of being with Edward as equals, but of being able to manipulate him. His use of the word "wanton" to describe Edward also indicates that he looks down on him. This view of Gaveston is reinforced when he arrives at court and immediately begins to voice his distaste for others who hold power there, stating "That Earl of Lancaster I do abhor (Marlowe 1.1.75), and "That villain Mortimer, I'll be his death" (Marlowe 1.1.80). Both of these comments are directed towards people who disapprove of Gaveston's presence. Edward is in response unsure of whom to listen to, as he loves Gaveston but still to some degree trusts the Barons. This establishes Gaveston's willingness to pit Edward against his peers in order to keep his standing. However, Gaveston also professes his devotion to Edward, such as when upon returning to his company for the second time he says,
"The shepherd nipped with biting winter's rage
Frolics not to see the painted spring
Than I do to behold your majesty" (Marlowe 2.2.61-63)
The dynamic between Edward and Gaveston does not fit into a modern framework of romantic relationships. Their sexual relationship is more or less accepted by their peers, but their romantic involvement is seen as a threat, contrary to our current understanding of the romantic and sexual as inherently tied. A constructionist view, interpreting categories of queerness in the cultural, political, and historical context, is helpful in analyzing this play. Socialization, social control, and culture all influence sexuality (Abrams), so it would be reductive to apply modern modes of romance and sexuality to Edward and Gaveston's relationship without acknowledging the nuance the period brings to it.
Edward's feelings for Gaveston are more explicitly romantic than Gaveston's feelings for him, and these expressions of love are a major target of the Barons when finding evidence of Gaveston's corruption. Edward is more devoted to Gaveston than he is to his role as King, frequently mentioning how he would sacrifice his kingdom to be with Gaveston. In the first scene, Edward states in defiance to the court,
"I will have Gaveston; and you shall know
What danger 'tis to stand against your King" (Marlowe 1.1.95-96)
Edward jumps to defend Gaveston from the Barons, establishing his devotion and determination for Gaveston to remain at his side early on. His threat to the Barons is not one they take particularly seriously, however, as they see Edward as weak. Gaveston also warns Edward that their relationship will garner the ill will of the court, saying, "The peers will frown", to which Edward responds, "I pass not for their anger" (Marlowe 1.4.141-142). Edward somewhat foolishly ignores the disapproval of his court to remain with Gaveston. The issue is partially with Gaveston's intentions, but mostly with the danger of a court who does not believe their king is fit to rule. The most striking passage regarding Edward's problematic devotion to Gaveston occurs when he is banished for the second time. Edward is distraught and bemoans that
"could my crown's revenue bring him back
I would freely give it to his enemies
And think I gained, having bought so dear a friend" (Marlowe 1.4.309-311)
Edward is consistently willing to sacrifice his wellbeing and the wellbeing of his country to be with Gaveston. Though he refers to Gaveston as only his "favorite" or his "dear friend", it is clear that Edward's love for Gaveston is romantic, at least in the sense of how we would describe it today. The language used in the play is indicative of the time in which it was written, but it also may be a result of the influence of the Tudor government on what was allowed to be published at the time. It is unknown whether the ambiguity (and punishment, though that will be discussed later) of the relationship was a result of Marlowe's own beliefs or of outside influence and the risk of being seen to be "promoting homoeroticism" with his work (Stymeist 236-237). Overall, Edward shows unbridled devotion to Gaveston while Gaveston largely accepts his affection and goodwill without much reciprocation.
The prevailing opinion of Edward and Gaveston's relationship in the play comes from the members of Edward's court, who overwhelmingly see Gaveston as a corrupting influence on the King. However, this view is less to do with the homosexual nature of the relationship than one would expect. The elder Mortimer defends the relationship between Edward and Gaveston, stating,
"Great Alexander loved Hephaestion;
And for Patroclus stern Achilles drooped.
And not kings only, but the wisest men:
The Roman Tully loved Octavius,
Grave Socrates, wild Alcibiades" (Marlowe 1.4.394-398)
Mortimer Sr. compares the relationship in question to the homosexual relationships many great leaders have had. He is in this scene attempting to reconcile Edward with his nephew, Mortimer Junior, so it is unclear if he actually believes what he is implying or if he is simply trying to avoid conflict (Stymeist). In any case, this passage shows that there are cases in which the characters find sodomy acceptable, so it is not Edward's sexual habits alone that turn them against him. Mortimer Junior's response to his uncle further confirms this as he replies,
"His wanton humor grieves not me,
But this I scorn, that one so basely born
Should by his sovereign's favour grow so pert,
And riot it with the treasure of the realm
While soldiers mutiny for want of pay" (Marlowe 1.4.403-407)
Gaveston's influence has turned Edward's attention away from his duties as king, not only as a husband. Specifically, Mortimer Junior calls attention to Edward enabling of Gaveston's spending habits, which are not something that can be blamed on the specifically homosexual nature of the relationship. The eventual murder of Gaveston and assault on the throne are motivated by the Barons' frustrations with Edward's poor leadership and Isabella's frustration at her husband's lack of interest in her. While these are both intrinsically linked to Edward and Gaveston's relationship, it is difficult to assert whether their homosexuality was the ultimate cause of the uprising against them. The Barons' opinion of Edward is that he is weak and a poor substitution for his father, and his feelings for Gaveston add to this impression of him, but the sexual nature of their relationship is not the main cause of the grievances against them.
Throughout the majority of the play, it is difficult to determine who the hero is, or if there is a hero at all. Edward is a complex and sympathetic character, but he has many flaws and is a villain in the eyes of most of the characters. Mortimer Junior leads the campaign against Edward, and in the context of a homophobic culture could be considered a hero for his part in taking him down. However, this tension is resolved by the final victory being taken in the form of revenge by Edward's son, placing King Edward firmly in the role of the hero. Prince Edward has faith in his father even when the rest of the court does not. When his mother is speaking with Sir John about their planned assault on the throne, he says "I think King Edward will outrun us all" (Marlowe 4.2.68). This comment is quickly rebuked by Isabella, but it shows that the prince remains loyal to his father. If King Edward's actions were meant to be read as utterly immoral, he would not have the approval of a child. The prince’s opinion also factors into the actions of those who oppose the king. When plotting his murder of King Edward, Mortimer Jr. considers,
"He that is the cause of Edward's death
Is sure to pay for it when his son is of age" (Marlowe 5.3.3-4)
Mortimer is aware that his part in Edward's murder will have consequences from Edward's son. In his essay "The two faces of revenge: moral responsibility and the culture of honor", Tamler Sommers argues that there are honor societies, where revenge is expected as a way to affirm ones' status. One reason for Mortimer's belief that he will face retribution from Edward's son may be that the story exists in an honor society where the son would be compelled to revenge his father. However, if the society they live in is not an honor society, it also reads as an admission by Mortimer that what he is doing isn't entirely righteous, since it will have this consequence from someone as innocent as the child prince. The final lines of the play focus on Edward III's grief over the loss of his father and the loss of his innocence due to being compelled to seek revenge. Addressing the audience at his father's funeral, he says,
"I offer up this wicked traitor's head.
And let these tears, distilling from mine eyes,
Be witness of my grief and innocency" (Marlowe 5.5.100-103)
Edward III's revenge, along with his youth and innocence, paint Isabella and Mortimer Junior as the ultimate villains of the story, making Edward II the hero. Without this final act of vengeance, it would be unclear what position the play is taking on the morality of Edward II's actions, but the punishment of those who persecuted Edward and Gaveston makes it clear that this persecution was wrong. Edward and Gaveston have a complex and intrinsically queer relationship that cannot be accurately described in modern terms but is very much subject to homophobia that existed at the time and still exists today. The validity of their relationship is questioned within the text, partially due to external pressure on Marlowe, the writer, to avoid promoting homosexuality with his work. However, Prince Edward's revenge upon Mortimer Junior and his mother for the murder of his father makes it clear that Edward did not deserve death for his queerness.
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Marlowe, Christopher. Edward II. Edited by Martin Wiggins and Robert Lindsey, Bloomsbury Publishing, 1967.
Stymeist, David. "Status, Sodomy, and Theater in Marlowe's Edward II". SEL Studies in English Literature, vol. 44, no. 2, Spring 2004, pp 233-253. https://doi.org/10.1353/sel.2004.0022