Edward Ii
Introduction
There are a considerably numerous amount of theories and assumptions that surround Christopher Marlowe and his work. Erne believes these widespread and often time unsubstantiated theories stem strictly from the selfish interest of academic capital: what is known of Marlowe would not sell in theaters, bookshops, or seminars; when Marlowe becomes an atheist, a sodomist, and a reflection of his outrageous heroes, he is transformed into a best-seller. To avoid this trap, I have tried to stick to the uncontroversial facts that defined Marlowe’s life.
Much assumed knowledge of Marlowe comes from documents of his contemporaries. Richard Baines wrote a note shortly before Marlowe’s death, pointing to Marlowe’s atheism and unorthodoxy through listing opinions Marlowe apparently entertained. Letters by Thomas Kyd also convey the same opinions of Marlowe. However, circumstances surrounding these accusations give scholars reason to question the authenticity of these claims. In short, it is fair to say little is known about the true life of Marlowe. The claims that Marlowe was a homosexual, an atheist, an epicurean, and a Machiavellian are not based on truths, but assumptions and speculations formed through the dissection of Marlowe’s plays and the statements of his contemporaries. To best understand Marlowe then, it is important to know the difference between truth and rumor, and assume nothing of his life when analyzing his plays.
Summary
The play is set in the early 14th Century. England has enmity with France, Ireland, and Scotland. Edward I has just died, leaving the throne to his eldest son, Edward II. The play opens with the return of Gaveston, Edward's lover and favorite, who had earlier been exiled by Edward's father. Edward showers Gaveston with titles, gifts, and parties. The nobles, led by Mortimer, are upset with the favoritism shown to one of lesser birth and the King's disregard of his kingly duties. They force Edward to consent to the exile
There are a considerably numerous amount of theories and assumptions that surround Christopher Marlowe and his work. Erne believes these widespread and often time unsubstantiated theories stem strictly from the selfish interest of academic capital: what is known of Marlowe would not sell in theaters, bookshops, or seminars; when Marlowe becomes an atheist, a sodomist, and a reflection of his outrageous heroes, he is transformed into a best-seller. To avoid this trap, I have tried to stick to the uncontroversial facts that defined Marlowe’s life.
Much assumed knowledge of Marlowe comes from documents of his contemporaries. Richard Baines wrote a note shortly before Marlowe’s death, pointing to Marlowe’s atheism and unorthodoxy through listing opinions Marlowe apparently entertained. Letters by Thomas Kyd also convey the same opinions of Marlowe. However, circumstances surrounding these accusations give scholars reason to question the authenticity of these claims. In short, it is fair to say little is known about the true life of Marlowe. The claims that Marlowe was a homosexual, an atheist, an epicurean, and a Machiavellian are not based on truths, but assumptions and speculations formed through the dissection of Marlowe’s plays and the statements of his contemporaries. To best understand Marlowe then, it is important to know the difference between truth and rumor, and assume nothing of his life when analyzing his plays.
Summary
The play is set in the early 14th Century. England has enmity with France, Ireland, and Scotland. Edward I has just died, leaving the throne to his eldest son, Edward II. The play opens with the return of Gaveston, Edward's lover and favorite, who had earlier been exiled by Edward's father. Edward showers Gaveston with titles, gifts, and parties. The nobles, led by Mortimer, are upset with the favoritism shown to one of lesser birth and the King's disregard of his kingly duties. They force Edward to consent to the exile