Edward II

By Christopher Marlowe

The classic Renaissance play of royal intrigue, infidelity, betrayal, and murder by the acclaimed author of Doctor Faustus and Hero and Leander.

Upon the death of King Edward I of England, his son, Edward II, takes the throne and revokes the banishment of his favorite, Piers Gaveston. Upon Gaveston’s return to court, Edward II bestows upon him titles, wealth, and protection—and soon ignores his duties as leader. The king’s nobles see Gaveston as a manipulative social climber. Meanwhile, Edward II’s wife, Queen Isabella, and Mortimer Junior have their own machinations for the throne. Focused on one member of his court, the monarch fails to see the impending doom around him . . .

Also known as The Troublesome Reign and Lamentable Death of Edward the Second, King of England, with the Tragical Fall of Proud Mortimer, Edward II is one of the first English history dramas and Marlowe’s final play before his death.

Praise for Edward II

“The death scene of Marlowe’s king moves pity and terror beyond any other scene in ancient or modern drama.” —Charles Lamb

“Passionate poetry . . . subdued with severe self-restraint in a supreme tragic creation.” —Havelock Ellis

• Language: English
• Publisher: Open Road Media
• Release date: Nov 29, 2022
• ISBN: 9781504080453

Christopher Marlowe

Christopher Marlowe (1564-1593) was a 16th century playwright, poet, and translator. Considered to be the most famous playwright in the Elizabethan era, Marlowe is believed to have inspired major artists such as Shakespeare. Marlowe was known for his dramatic works that often depicted extreme displays of violence, catering to his audience’s desires. Surrounded by mystery and speculation, Marlowe’s own life was as dramatic and exciting as his plays. Historians are still puzzled by the man, conflicted by rumors that he was a spy, questions about his sexuality, and suspicions regarding his death.

Book preview

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Edward II

Christopher Marlowe

EDWARD II

Enter GAVESTON, reading a letter.

Gav. My father is deceas’d. Come, Gaveston,

And share the kingdom with thy dearest friend.

Ah, words that make me surfeit with delight!

What greater bliss can hap to Gaveston

Than live and be the favourite of a king!

Sweet prince, I come! these, thy amorous lines

Might have enforc’d me to have swum from France,

And, like Leander, gasp’d upon the sand,

So thou wouldst smile, and take me in thine arms.

The sight of London to my exil’d eyes

Is as Elysium to a new-come soul:

Not that I love the city or the men,

But that it harbours him I hold so dear,—

The king, upon whose bosom let me lie,

And with the world be still at enmity.

What need the arctic people love star-light,

To whom the sun shines both by day and night?

Farewell base stooping to the lordly peers!

My knee shall bow to none but to the king.

As for the multitude, that are but sparks,

Rak’d up in embers of their poverty,—

Tanti,—I’ll fawn first on the wind,

That glanceth at my lips, and flieth away.

Enter three Poor Men.

But how now! what are these?

Poor Men. Such as desire your worship’s service.

Gav. What canst thou do?

First P. Man. I can ride.

Gav. But I have no horse.—What art thou?

Sec. P. Man. A traveller.

Gav. Let me see; thou wouldst do well

To wait at my trencher, and tell me lies at dinner-time;

And, as I like your discoursing, I’ll have you.—

And what art thou?

Third P. Man. A soldier, that hath serv’d against the Scot.

Gav. Why, there are hospitals for such as you:

I have no war; and therefore, sir, be gone.

Third P. Man. Farewell, and perish by a soldier’s hand,

That wouldst reward them with an hospital!

Gav. Ay, ay, these words of his move me as much

As if a goose should play the porcupine,

And dart her plumes, thinking to pierce my breast.

But yet it is no pain to speak men fair;

I’ll flatter these, and make them live in hope.—

[Aside.

You know that I came lately out of France,

And yet I have not view’d my lord the king:

If I speed well, I’ll entertain you all.

All. We thank your worship.

Gav. I have some business: leave me to myself.

All. We will wait here about the court.

Gav. Do.

[Exeunt Poor Men.

These are not men for me;

I must have wanton poets, pleasant wits,

Musicians, that with touching of a string

May draw the pliant king which way I please:

Music and poetry is his delight;

Therefore I’ll have Italian masks by night,

Sweet speeches, comedies, and pleasing shows;

And in the day, when he shall walk abroad,

Like sylvan nymphs my pages shall be clad;

My men, like satyrs grazing on the lawns,

Shall with their goat-feet dance the antic hay;

Sometime a lovely boy in Dian’s shape,

With hair that gilds the water as it glides

Crownets of pearl about his naked arms,

And in his sportful hands an olive-tree,

To hide those parts which men delight to see,

Shall bathe him in a spring; and there, hard by,

One like Actæon, peeping through the grove,

Shall by the angry goddess be transform’d,

And running in the likeness of an hart,

By yelping hounds pull’d down, shall semm to die:

Such things as these best please his majesty.—

Here comes my lord the king, and the nobles,

From the parliament. I’ll stand aside.

[Retires.

Enter KING EDWARD, KENT, LANCASTER, the elder MORTIMER, the younger MORTIMER, WARWICK, PEMBROKE, and Attendants.

K. Edw. Lancaster!

Lan. My lord?

Gav. That Earl of Lancaster do I abhor.

[Aside.

K. Edw. Will you not grant me this?—In spite of them

I’ll have my will; and these two Mortimers,

That cross me thus, shall know I am displeased.

[Aside.

E. Mor. If you love us, my lord, hate Gaveston.

Gav. That villain Mortimer! I’ll be his death.

[Aside.

Y. Mor. Mine uncle here, this earl, and I myself,

Were sworn to your father at his death,

That he should ne’er return into the realm:

And now, my lord, ere I will break my oath,

This sword of mine, that should offend your foes,

Shall sleep within the scabbard at thy need,

And underneath thy banners march who will,

For Mortimer will hang his armour up.

Gav. Mort dieu!

[Aside.

K. Edw. Well, Mortimer, I’ll make thee rue these words:

Beseems it thee to contradict thy king?

Frown’st thou thereat, aspiring Lancaster?

The sword shall plane the furrows of thy brows,

And hew these knees that now are grown so stiff.

I will have Gaveston; and you shall know

What danger ‘tis to stand against your king.

Gav. Well done, Ned!

[Aside.

Lan. My lord, why do you thus incense your peers,

That naturally would love and honour you,

But for that base and obscure Gaveston?

Four earldoms have I, besides Lancaster,—

Derby, Salisbury, Lincoln, Leicester;

These will I sell, to give my soldiers pay,

Ere Gaveston shall stay within the realm:

Therefore, if he be come, expel him straight.

Kent. Barons and earls, your pride hath made me mute;

But know I’ll speak, and to the proof, I hope.

I do remember, in my father’s days,

Lord Percy of the North, being highly mov’d,

Brav’d Mowbray in presence of the king;

For which, had not his highness lov’d him well,

He should have lost his head; but with his look

Th’ undaunted spirit of Percy was appeas’d,

And Mowbray and he were reconcil’d:

Yet dare you brave the king unto his face.—

Brother, revenge it, and let these their heads

Preach upon poles, for trespass of their tongues.

War. O, our heads!

K. Edw. Ay, yours; and therefore I would wish you grant.

War. Bridle thy anger, gentle Mortimer.

Y. Mor. I cannot, nor I will not; I must speak.—

Cousin, our hands I hope shall fence our heads,

And strike off his that makes you threaten us.—

Come, uncle, let us leave the brain-sick king,

And henceforth parley with our naked swords.

E. Mor. Wiltshire hath men enough to save our heads.

War. All Warwickshire will leave him for my sake.

Lan. And northward Lancaster hath many friends.—

Adieu, my lord; and either change your mind,

Or look to see the throne, where you should sit,

To float in blood, and at thy wanton head

The glozing head of thy base minion thrown.

[Exeunt all except King Edward, Kent, Gaveston, and attendants.

K. Edw. I

Reviews for Edward II

[baswood · Rating: 5 out of 5 stars]

Ever the subversive; when Christopher Marlowe decided to write a history play he had at his disposal probably all of Raphael Holinshed's chronicles from which to chose and he chose the reign of Edward the Second. Edward was no hero king but a weak minded individual who was accused of letting his country go to rack and ruin while he indulged his favourites at court in a milieu of homoerotic dalliances. Marlowe not only succeeded in telling the story of Edwards reign but also created a tragedy with psychological dramatic overtones. Despite telescoping the action of a twenty year reign into a matter of months Marlowe created a play that works on paper and works on the stage: the number of modern revivals plays witness to its playability. Edward II's reign has been labelled as just one squabble after another as the nobles of England sought to gain power at the expense of a king who had no stomach for war. During his reign the Scots defeated the English army at Bannockburn and the French King had seized part of Normandy. Edward surrounded himself with favourites at court particularly the Frenchman Gaveston. The Earls of Warwick, Lancaster, and the Earl of March: Mortimer plot to kill Gaveston. Edward is mortified and with the support of The Spencers (his new favourites) he declares war on the nobles. At first he is successful, but Mortimer who flees to France returns with Isabel Edwards Queen to defeat the King and his followers. Mortimer arranges for the captive king to be murdered, while making himself protector of the new KIng the young Edward III. The play ends with Edward III asserting his authority and executing Mortimer and putting his mother Isabel in the Tower of London.Marlowe's characters develop over the course of the play; Mortimer appears first as an indignant patriot but develop into a scheming machiavellian lusting for power. Queen Isabella changes from being a patient suffering wife to a conspiring adulteress. Spencer and his attendant Baldock appear as parasitic sycophants but become loyal supporters of the king and suffer courageous deaths. Edward from a weak indulgent king to a heroic king triumphant in battle and finally to a broken and weary ruler who elicits our pity as we witness the last trace of regal dignity struggling vainly against dispare. It is king Edward who dominates the play and modern productions tend to emphasise the homosexual relationship with Gaveston that leads to the nobles incipient rage against the court favourite. Certainly the kings love for Gaveston influences and controls all his actions and homoerotic references in Marlowe's text are evident, however the overriding struggle is one of class. Gaveston and Spenser after him were not nobles by birth and the continual references to their birth right outdoes any accusations against homosexuality. The nobles force the king to send Gaveston into exile again and Edward is distraught which causes Lancaster to remark:What passions call you these? Afterwards Mortimer sets out his complaints against GavestonUncle, his wanton humour 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.   He wears a lord's revenue on his back,   And, Midas-like, he jets it in the court,   With base outlandish cullions at his heels,....... While others walk below, the king and he,   From out a window, laugh at such as we,   And flout our train, and jest at our attire.   Uncle, 'tis this that makes me impatient.Some critics read between the lines and claim that Mortimer's jealousy is sexual jealousy or abhorrence of homosexuality, but I don't read it this way. There is no doubt that Gaveston and the king were in some sort of love relationship, but this was hardly an issue at the time unless it was so overt it caused offence. Marlowe himself fell foul of being accused of sodomy, but was not in real danger of being sent to prison although at the time it was an offence.The real interest for me and what makes this a great Elizabethan play is the final third starting from when Edward has lost his war with Mortimer and Queen Isabel and has sought sanctuary in an abbey. He is there with his followers Spencer and Baldock and one feels drawn to a magnetic personality, Edward was not a warrior king, but attracts people to him and his long sojourn of imprisonment and torture elicits sympathy from the reader. A tortured Edward proves difficult to kill and Mortimer must carefully select a villain to carry out the murder, one who will not feel pity for the dignified king. Marlowe tells us of the method of the murder and why it is done this way: A red hot iron spit is inserted into his anus to avoid any detection of the murder. Marlowe spares us the gory details, but lets one of the murderers say:I fear me that this cry will raise the town.Marlowe gives Edward some excellent speeches especially towards the end when he gives the impression of a king at a loss to understand why he is being ill treated and why he must give up his kingship, but there are moments of clear prescience when he says:  But what are kings, when regiment is gone,   But perfect shadows in a sunshine day?The king never completely loses his dignity under duress, but one could say that earlier in the play he does lose his dignity in his declarations of love for Gaveston.Marlowe's text is mainly in iambic pentameters with some rhyming couplets and passages of prose as is appropriate to the speaker. It flows well, but becomes a little pedestrian in the battle scenes. Marlowe introduces scenes of anti-catholicism and critiques of the kings courtiers in lively exchanges between his characters. This is one of the earliest plays to make use of Holinshed's Chronicles and tells the story of a king out of step with the need to be a strong forceful monarch in a time when the nobility were warrior princes looking to get their hands on the levers of power. This was a five star read for me and I finish with Marlowe imagining what Edwards court would be like under the influence of Pier Gaveston: (sounds good to me)I must have wanton poets, pleasant wits,   Musicians, that with touching of a string   May draw the pliant king which way I please:   Music and poetry is his delight;   Therefore I'll have Italian masks by night,   Sweet speeches, comedies, and pleasing shows;   And in the day, when he shall walk abroad,   Like sylvan nymphs my pages shall be clad;   My men, like satyrs grazing on the lawns,   Shall with their goat-feet dance the antic hay;   Sometime a lovely boy in Dian's shape,   With hair that gilds the water as it glides   Crownets of pearl about his naked arms,   And in his sportful hands an olive-tree,   To hide those parts which men delight to see,   Shall bathe him in a spring; and there, hard by,   One like Actæon, peeping through the grove,   Shall by the angry goddess be transform'd,   And running in the likeness of an hart,   By yelping hounds pull'd down, shall semm to die:   Such things as these best please his majesty.—   Here comes my lord the king, and the nobles,   From the parliament. I'll stand aside.

[sageness · Rating: 4 out of 5 stars]

I am very fond of this play and the broad range of interpretations available based on how the actors interpret the roles. It's an incredibly versatile text, and the language of some portions is really beautiful.

[tiffanyak_1 · Rating: 4 out of 5 stars]

I chose to read an online edition of this play for my Play Analysis paper for my Intro. to Drama class. Therefore, I am not talking about this exact edition, but am talking about the main work itself. This History/Chronicle play probably offered me the most compelling glimpse into a more controversial aspect of society of the time than any other ever has. That is, the way in which it deals with King Edward II's rumored bisexuality, his friends that are believed to have been his lovers, and so on. It truly is fascinating in the way that it is said without truly being said. The assassination scene is also incredibly epic, as it makes you stop and think to figure out what the method of killing is meant to be. Overall, it is a great example of drama from the era, without being Shakespeare. So, I definitely recommend it for anyone interested in drama of the period, or even just great drama in general.

[longhorndaniel · Rating: 1 out of 5 stars]

remember nothing about it except i had to read it for college class