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Pky217@nyu.edu
March 9, 2017
Joe Jeffreys
What do you do when your king is incredibly fond of one of his male pupils? What do
you then do when you suspect that this pupil is somehow bad for your king, your well-being, and
the well-being of your entire nation? These are the questions the characters in Christopher
Marlowes Edward II must answer. The play deals with the English King Edward II and his
relationship with Piers Gaveston, a French nobody, who proves to be his inevitable undoing. For
long, Marlowes Edward has been hailed as a tragic gay character in a gay play by many queer
members of the theatre community and often is portrayed as such. But, what makes a play gay
and how can we identify one as such? It is to my understanding that a gay play must focus on
or around a gay character or characters, explore themes that explicitly deal with and pertain to
the LGBTQ community, and it must be written by a gay playwright. In regards to this play, of
course, homosexuality was not something that was recognized officially, so can this play be
considered gay? The answer is, simply, yes. Homosexuality is a term that was coined in 1869.
Before then, people who enjoyed same-sex intimacy were called sodomites, catamites, ingles,
ganymedes, buggers, and pathics. In the 1500s, acts were homosexual but people were not.
There are clear moments in the play when Marlowe reveals through the text that Edward
is in fact a gay character. In the first scene, Gaveston delivers a monologue whilst reading a letter
from Edward that can only be seen as describing their reciprocal relationship. He says:
This moment establishes the relationship of the two to the audience. It displays Edward as a
traditionally feminine role, writing letters and expressing his feelings for Gaveston in an outward
manner and displays Gaveston as a Leander type who comes to the beck and call of his lady,
Hero. And then, later when they finally meet, Edward says to Gaveston:
Edwards words reflect the same intimacy that Gaveston speaks of and also show that he cares
more about his lover than about his country. The character of Edward is easily read as gay in the
pinpointing how and why this is so. The play exhibits many examples of desire openly expressed
between men and acknowledged by other characters, whether directly referring to them in terms
Some of the themes that the play deals with are love triangles, desires, and hope for the
future. The obvious triangle exists amongst Edward, Isabella, and Gaveston. Isabella is unable to
accept that the man she loves and is eternally devoted to does not return her affections for a very
obvious reason. Edward's harsh treatment of her makes it so very apparent that she has
absolutely no hope of winning his heart, and also reveals how Edward is unable to dissemble
when it comes to his feelings. He is anything but gentle with her. She becomes hell-bent on
destroying her husband and his dear friend. Her unrequited passion turns into a deadly poison
that destroys Edward and Gaveston before finally consuming her (Ahlgren). Edward has a clear
desire for Gaveston and his friendship and company and Gaveston clearly shares the same
sentiment. Their relationship is the embodiment of a love song, and its poetic nature and how
sometimes you can only really say the right things around the person that you love. And it is
Edward's determination to have Gaveston that ultimately seals their fate. Unfortunately for them,
in the world we live in it is always the will to power, and not to love, that governs man's fate and
their fate is very much so not in their own hands. But Edward III, the new hope, is present at the
end of the play. As Prince, Edward spends the majority of the play as a loving and doting son to
his parents, parting with his father on his futile mission to win the Kings support in France even
though he is quite reluctant to go, and sympathizing with his mother over his fathers treatment
Christopher Marlowe, the playwright, is reported to have said All they who love not
tobacco and boys are fools. He lived quite the wild and colorful life. He was a government spy,
who spied on the Catholic Church in Rheims. He was highly educated and attended Kings
School, Canterbury, and Cambridge. Richard Baines claimed that Marlowe declared what
probably would have to have been heresy at the time, that Jesus of Nazareth and St. John the
Baptist were lovers (Hamilton). In 1593 Christopher Marlowe was due to be arrested for treason
charged with sodomy. But, before this could take place, he was killed by stab wounds to the head
in a bar fight.
Although these three points are perfectly legitimate, there are also ways in which Edward
II could not be considered a gay play. The first being that the characters are quite silent about
the relationship between Edward and Gaveston. The only real way we can deduce any kind of
information about the nature of their friendship through the things that other characters say and
the way that they interact with each. Harkening back to the three moments in Act 1 Scene 1 are
the bulk of the relationship as acted out by the two characters. It is never outwardly said that the
characters are gay, only that the king favors his friend to his wife. You can also infer the
homosexuality of the character through which the king is murdered. He is restrained and forcibly
Another way this plays gayness can be questioned is by putting it in context with the
time period in which it was written. The word homosexual did not even exist yet. People
couldnt be homosexual, only acts could be. It could be argued that Edward IIs death was not
due to his sexuality, but to the way that he governed his kingdom. He was frivolous and favored
a lowly Frenchman, on which he bestowed several honors meant for people in the gentry. The
other characters in his court were disgusted in him, not for his sexual life, but for the way he
ruled and how it directly affected their lives and the lives of the English people.
Edward II, by Christopher Marlowe, is one of the first gay plays and is still performed
around the world to this day, usually through a very contemporary lens. Reading this play and
living in this text, one cannot help but identify moments in modern life or in the recent past
where the themes become all too real and relevant. Even in its historical place, before the terms
necessary to describe it were even coined, this play occupies an important space in the writing
Edward II and Piers Gaveston | History Today. History Today, 6 June 1999. Web. 09 Mar. 2017.