Of The Characters In Edward II example essay topic

Edward II is a play involving many issues. Through Marlowe's integration of the language, characters and theme, each of the five genres employed can be recognised. Edward II has various themes and the language used to portray them is fairly consistent. The purpose of this essay is to analyse the extent to which each genre: The Revenge Tragedy, The Tragedy, The Machiavellian Play, The Morality Play and The History Play - appears in the play and how well (if they do) fit one or more of them. I will begin by showing how it fits into each genre. As far as the Jacobean motif of the revenge tragedy goes, many of the common characteristics can be identified in Edward II.

It could seem to fit quite closely with this genre. In the revenge tragedy there is often an awareness of rottenness and corruption in the state. A dim view of life is taken and society - or in terms of Edward II, the court is presented as callous and dissembling. These features are greatly evident in the play, firstly by most characters in the course of the play being open to corruption or bribery. 'I here create thee Lord High Chamberlain, Chief Secretary to the state and me'. Good examples of these treacheries are in the opening scene where Gaveston reveals his motives of returning to England.

'I must have wanton poets, pleasant wits, musicians... ' and also the activities of Baldock and Spencer junior who want 't flatter their way into the King's court when they know he is vulnerable due to his lack of support from the nobles. 'But he that hath the favour of the King may with one word advance us while we live'. There is also the matter of the paid killings and the suggestion of deceit concerning the possible relationship between Mortimer junior and Isabella. Edward's irresponsibility as a King also serves as a feature of the revenge tragedy; his waste of the treasury, his weak and unwise decisions of promotion for his favourites show this. These aspects of the play lead to the social complaint element of the revenge tragedy. The state of England's society seems to be degrading in Edward II.

The battles with Scotland and France plus the social unrest over the conflict between Gaveston and the nobles provides the play with the generalised social satire that appears as a feature of this genre. The revenge tragedy also features an avenger who wins at the end. In Edward II this fits because Mortimer, the villain, goes on to die at the end at the hands of Edward, the young son of Edward II. This matches this classical element perfectly. Also in this genre is the insistence of horror.

In Edward II, there are plenty of 'gory' killings and executions, with the deaths of Mortimer and Edward being the most violent. The dungeon where Edward is kept supports this feature, as its dreadful scene is a symbol of misery, abandoned hope and violent, painful deaths. 'This usage makes my misery increase. ' There is also the matter of the hot poker style of death itself- being both gruesome and bazaar.

This ingenuity shown in the play is also a common characteristic of the revenge tragedy, especially with the Italian linked Lightbourne being proud of his invisible and ingenious killings, "I learned in Naples how to poison flowers". The references to Italy and Italian culture do again fit into the genre of the revenge tragedy. The Italian setting stood in the public mind for the reasons of corruption and civility. To the Elizabethan audience, Italy was a land of duelling and vendettas, and also the home of Machiavelli.

Therefore, by Gaveston dressing in Italian fashions Lightbourne's execution techniques being said to be of Italian origin and the presence of Catholicism, through the bishops, the audience would associate these characters with corruption ad evil cunning. Therefore Edward II can definitely be seen as containing many of the traditional elements of the genre of the revenge tragedy, however the features of the play run much deeper than a simple tale of death and revenge. In relation to how closely Edward gets into the genre of a tragedy, it can be said that Edward comes very close to the idea of a tragic hero, due to him having the tragic flaw that leads him into dispute, downfall and death, him being of the highest of noble birth, but in the end dying. However Edwards flaw is not clear-cut like Macbeth's flaw of ambition, or Othello's jealousy. It first appears to be his love for Gaveston but as the play develops it seems like it is his weak character and judgement of situations and other people that cause his down fall, "If I be King... ".

The Machiavellian elements mentioned above- evil, cunning and corruption- create the symbol of ruthlessness and depravity, which could be used to describe Mortimer junior, Isabella and Warwick. However these characters only have traits of Machiavelli. Isabella- "I would he were {dead}, so not by my means'. Warwick - 'War must be the means, or he " ll stay still', Mortimer - 'Speak, shall he presently be despatched and die?' The villainous character of Lightbourne however is a perfect match. He is cunning, plotting and ruthless duplicity- "To murder you, my most gracious Lord, far is it from my heart to do you harm", His professional vanity brings a chilling tone to the play as the King is murdered. A quote from Flamingo, in Webster's 'The White Devil' offers an apt description of the genre's typical villain in relationship to Lightbourne and the instruments used fir the murder".

Oh the rare tricks of a Machiavellian, he doth no come like a gross plodding slave, and buffet you to death... he tickles you to death, making you die laughing... ". This genre therefore provides a very close fit with Edward II especially as they were usually more than one Machiavellian character. This importance of characters can also be seen in the morality play. This genre embodies moral ideas and shows them in dramatically terms.

These plays involved a wide range of topics and developed originally from sermons. However towards the sixteenth century they became more theological and controversial. Edward II could fit into this genre because it concerned the friction between Catholics and the Church of England, plus the use of satire. In Edward II the treatment of the Bishop of Canterbury could convey this. Also the fact that Marlow mentions the wealth of Bishops satirists the fact that they were holy men, with lots of assets whereas the Protestant belief that was that people should live simply, not too extravagantly.

The main features of the morality play was that there was a hero, or character of virtue- trapped into sin usually by the misguided exercise of freewill. This would subject him to cunning of the vices, which also seek to destroy him. The hero is saved by a change of heart and repents, motivated by divine grace. In Edward II these features are apparent, however they are not totally true because Edward's situation is more sophisticated. He exercises freewill and ends up sinning with Gaveston, and the mistreatment of England is seen. There are also vice- like characters like Mortimer and Isabella, who seek to destroy him, 'The King must die or Mortimer goes down.

' Nevertheless they are not total vices, only having elements of vice, through their pride, ambition and cunning. Edward is sorry for the deaths he has caused, but he is not truly repentant, because he is not truly aware of the role, which he played in his own downfall. This therefore doesn't equal a change of heart or full repentance of divine grace. However there are still many ways in which Edward II fits into the morality of the play in terms of the vice characters being established quickly through their appearance or style of speech. 'May draw the pliant King which way I please". To an Elizabethan audience, characters overdressing are a sense of false pride, therefore omitting a vice like sense.

Also the hero character, supposedly Edward, starts off very similarly to the morality play character- showing pride and ignorance at the start, rejoicing in strength and freewill, making him weak and vulnerable. 'Spencer I adopt thee here merely of our love we do create thee Earl of Gloucester and Lord Chamberlain' and therefore causing him to sin. He then despairs, is regenerated and becomes more optimistic. However in the play Edward does not become optimistic again because as the ending shows, he is very distraught and still in heavy despair when he dies. 'My mind is distempered and my body is numbed. ' This does give a more realistic and dramatically effect, which Marlow wanted to create.

Many of the characters in Edward II have traits of the morality play characters. However in Edward II they are more rounded and complicated to give a more 3 dimensional effect for the reader. This complexity of the character's personalities, therefore contrasts with the morality drama, so it can be said that Edward II doesn't fit easily into this one genre. The genre however that Edward II should fit into most easily is the History play. This is because Edward II existed and the events of his reign were recorded in the Holinshed Chronicles.

The features of this genre were that it had to be English, which Edward II definitely is, also based in a dramatization of a national and historical event. Edward II very selectively used the chronicles as a source, however the 20-year reign of Edward was compressed and rearranged into a play of 25 scenes. Sterne says that 'the compression is sometimes criticised as being obsessive. ' This could mean that all the negative things that Edward did were overly empathized while his good years as a King were ignored. A history play also had to be episodic in structure, similarly to the morality play. Marlow did this, however the scene divisions were later added artificially.

Elizabethans loved plays to be patriotic; they had a fascinated fear of the future. Edward II fulfilled this with patriotism of Edward I and the hope and fear of the young king Edward. Edward II does not fit with their expectations. The history play would also show forces that could destroy the nation. In Edward II there was a fear of disorder with the social hierarchy when the three flatterers were promoted, 'I will have Gaveston; and you shall know what danger 'tis to stand against you " re king.

' However the history play was also supposed to appear formless but in Edward II there was more than one plot, plus with the overall plot being the fall of the king, this gives the play a form. Other ways in which Edward II doesn't fit easily into the genre of the history play is the impracticalities that mismatched the Holinshed source. The Spencer's in real life were involved in the Court before Gaveston died, however in Edward II they increased in power after Gaveston died. Also Kent dies before Edward in the play, but in history he died after his brother. The shaming of the monarch never occurred in real life and was probably put in the play by Marlowe for dramatic al purposes to express the true extent of the mistreatment of the king. This difference therefore causes the play to not fir exactly into the genre as well as the other 4 genres did.

Therefore to conclude it would be important to say that Edward II does fit into the five genres of plays, however, only to an extent. Due to it having the majority of the elements of each of them, it cannot be an exact genre. Therefore in relation to the statement I would agree that it is a mixture of all the genres creating a compact, yet intense play. 2009 words.