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The narrative re-tellings of the life, reign, and death of the English King Edward II (reigned 1307–1327) present a unique opportunity for scholars of sexuality in the early modern era. This is because the works of authors like Christopher Marlowe, Michael Drayton, Sir Francis Hubert, Elizabeth Cary, and Richard Niccols were all inspired by the public, cultural memory fashioned from Edward’s same-sex love affair with Piers Gaveston. As such, each of them presents a particular representation of and a specific discourse about male-male sexual relations in the Renaissance. In other words, what these works present is a concentrated body of literature about same-sex love in the early modern era: works that openly and frankly explore the possible origins of the love, the reasons and causes for it; works that explore the ramifications of male-male romantic relationships; works that explore the sexual politics and sociocultural dynamics of same-sex romantic partnerships; and works that describe and denote same-sex love from an English Renaissance perspective. This study looks at each of the major Renaissance texts about Edward II and examines the means through which each text understands and analyzes the nature of male-male same-sex love. From Marlowe’s crafting of a lover-identity for Edward to Drayton’s obsession with Marlowe’s version of (gay) history; from Hubert’s Augustinian construction of Edward’s nature to Cary’s identification with the fallen king to Niccols’ inspired exemplum, what each of these works demonstrates is that the “love that dare not speak its name” would not be silenced, at least not in the case of Edward and Gaveston. When one sees the name Edward II, one also sees his same-sex loves. The correlation has become ingrained into our public recall of history. Thus, as far as the world is concerned, Edward II was—and ever will be—the gay king.
When one sees the name Edward II, one also sees his same-sex loves; this correlation between Edward and sexuality has become ingrained into our public recall of history. This text explores the discourses of sexuality that surround Edward II in Renaissance-era works by Marlowe, Drayton, Hubert, Cary, and Niccols, arguing that, as a result of this very public conversation, Edward II emerges as a unique construction of an identity based on same-sex desire--the veritable once (and future) gay king.
During his lifetime and the four centuries following his death, King Edward II (1307-1327) acquired a reputation for having engaged in sexual and romantic relationships with his male favourites, and having been murdered by penetration with a red-hot spit. This book provides the first account of how this reputation developed, providing new insights into the processes and priorities that shaped narratives of sexual transgression in medieval and early modern England. In doing so, it analyses the changing vocabulary of sexual transgression in English, Latin and French; the conditions that created space for sympathetic depictions of same-sex love; and the use of medieval history in early modern political polemic. It also focuses, in particular, on the cultural impact of Christopher Marlowe's Edward II (c.1591-92). Through such close readings of poetry and drama, alongside chronicle accounts and political pamphlets, it demonstrates that Edward's medieval and early modern afterlife was significantly shaped by the influence of literary texts and techniques. A 'literary transformation' of historiographical methodology is, it argues, an apposite response to the factors that shaped medieval and early modern narratives of the past.
A contemporary of William Shakespeare and Ben Jonson, Christopher Marlowe was one of the most influential early modern dramatists, whose life and mysterious death have long been the subject of critical and popular speculation. This collection sets Marlowe's plays and poems in their historical context, exploring his world and his wider cultural influence. Chapters by leading international scholars discuss both his major and lesser-known works. Divided into three sections, 'Marlowe's works', 'Marlowe's world', and 'Marlowe's reception', the book ranges from Marlowe's relationship with his own audience through to adaptations of his plays for modern cinema. Other contexts for Marlowe include history and politics, religion and science. Discussions of Marlowe's critics and Marlowe's appeal today, in performance, literature and biography, show how and why his works continue to resonate; and a comprehensive further reading list provides helpful suggestions for those who want to find out more.
A brilliant retelling of a true medieval tale that has entered gay mythology. "What Hunt has done is no less than the finest of literature: creating myth, in its most powerful form, whose vision enriches us" -- John Preston "Chris Hunt has carved out a comfortable niche as the author of highly readable historical epics set against a well-researched background" -- Gay times, London "First of all, let it be set down that Piers Gaveston was the most beautiful creation on God's earth, and if it had not been so, his joys and his pains would have been in proportion the less. Set it down that Gaveston had eyes as green as emeralds, and a smile that dazzled like the sun..". And so Edward II begins the famous tale of his excellent Gaveston. They were young lovers blinded by dreams of Camelot and knights in shining armor, but caught in a web of courtly jealousy and prejudice that eventually destroyed them both. Their story has inspired writers and dramatists from Christopher Marlowe to Derek Jarman, and is recreated here in Chris Hunt's inimitable and well-researched style.
In chess, from the time of Queen Isabella of England, the queen has been considered the most powerful and feared piece on the board. Known to chroniclers as the 'she-wolf', Isabella, daughter of Philip IV of France, married King Edward II of England in 1308 in a union intended to create a lasting peace between the two countries. But after 13 years of enduring her husband's unkind and dissolute nature she fled abroad. With her lover, the exiled Roger Mortimer, she raised an army of mercenaries and invaded England, successfully deposing Edward. Popular belief holds that Edward was murdered in an infamous manner at Berkeley Castle near Gloucester, at the order of his wife and her lover. But after Mortimer's execution a letter arrived at court that cast doubt over Edward's death and raised the possibility of his escape. The evidence remains controversial to this day, and here Paul Doherty examines it in his fascinating detective study, set in one of the most turbulent and exciting periods of English history.
The dramatic life and mysterious death of the reviled Edward II, focusing on the vivid personality of the erratic and contradictory king, his unorthodox lifestyle and his passionate relationships with his male favourites, including Piers Gaveston
Edward II is one of the most unsuccessful and unconventional kings in English history, and is well-known for having passionate and probably intimate relationships with men. In modern times, he has often been considered an LGBT+ icon of sorts. Edward II: His Sexuality and Relationships looks at the men in the king’s life and examines the relations he had with them in the context of medieval notions of sexuality and the famous, albeit almost certainly mythical, idea that he was murdered with a red-hot poker as punishment for having sex with men. It also investigates Edward’s associations with women. Though often thought of as a gay man, it is more likely that Edward was bisexual: he fathered an illegitimate son in his early twenties, at the age of forty had an intimate encounter with a woman in London which is recorded in his household account, and might even have had an incestuous relationship with his own niece. Edward’s marriage to the king of France’s daughter Isabella, arranged when they were children, has often been depicted as a tragic disaster from start to finish. Edward II: His Sexuality and Relationships takes a detailed look at the royal marriage and at all the evidence that it was in fact a happy and mutually supportive partnership for many years, and at Isabella’s important though over-romanticized association with the baron Roger Mortimer. Because Edward is often assumed to have been solely attracted to men, numerous modern authors have depicted him as a grotesque caricature of a camp, weak, foppish gay man. Edward II: His Sexuality and Relationships reveals him as he truly was: as a chronicler puts it, ‘one of the strongest men in his realm.'
Edward II is, in a sense, Bertolt Brecht's only tragedy. Based on Christopher Marlowe's classic of the same name, it departs from its source as widely as The Threepenny Opera departs from Gay's Beggar's Opera. Brecht has made a multitude of technical changes calculated to streamline the play, with a smaller cast and simpler action, and he has created virtually new and totally compelling characters with his extravagant variations on Anne, Edward's queen, and Mortimer, the villain of the piece. Brecht also reinterprets Marlowe's famously homosexual protagonist, creating an Edward initially more crudely homoerotic and ultimately more truly heroic. Brecht's Edward is a hero for the modern era: an existential hero defying a meaningless universe with his courage.