King Edward Ii

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's murder at Berkeley Castle in 1327 is one of the most famous and lurid tales in all of English history. But is it true? For over five centuries, few people questioned it, but with the discovery in a Montpellier archive of a remarkable document, an alternative narrative has presented itself: that Edward escaped from Berkeley Castle and made his way to an Italian hermitage. In Long Live the King, medieval historian Kathryn Warner explores in detail Edward's downfall and forced abdication in 1326/27, the role possibly played by his wife Isabella of France, the wide variation in chronicle accounts of his murder at Berkeley Castle and the fascinating possibility that Edward lived on in Italy for many years after his official funeral was held in Gloucester in December 1327.

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 new review of the most significant issues of Edward II's reign. Edward II presided over a turbulent and politically charged period of English history, but to date he has been relatively neglected in comparison to other fourteenth and fifteenth-century kings. This book offers a significant re-appraisal of a much maligned monarch and his historical importance, making use of the latest empirical research and revisionist theories, and concentrating on people and personalities, perceptions and expectations, rather than dry constitutional analysis. Papers consider both the institutional and the personal facets of Edward II's life and rule: his sexual reputation, the royal court, the role of the king's household knights, the nature of law and parliament in the reign, and England's relations with Ireland and Europe. Contributors: J.S. HAMILTON, W.M. ORMROD, IAN MORTIMER, MICHAEL PRESTWICH, ALISTAIR TEBBIT, W.R. CHILDS, PAUL DRYBURGH, ANTHONY MUSSON, GWILYM DODD, ALISON MARSHALL, MARTYN LAWRENCE, SEYMOUR PHILLIPS.

"Edward II" is one of the earliest English history plays. It focuses on the relationship between King Edward II of England and Piers Gaveston and Edward's murder on the orders of Roger Mortimer. Marlowe portrays the king's downfall as a result of his love for his dearests, Gaveston and Spencer, his negligence of his queen and earls, and the rise of Queen Isabella and her lover Mortimer. The play explores the tragic tensions between sexual passion and marriage, royal duty and self-fulfillment, and noble privilege and ambition.

"Edward of Caernarfon is best known today for his disastrous military defeat in 1314 at Bannockburn, where his English army was defeated by a vastly inferior Scottish force led by Robert the Bruce, leading to Scottish Independence. This catastrophe was one of many in a disastrous career marked by indolence, vengefulness, vacillation in relationships with France, deranged policies at home, and constitutional wrangling, ultimately brought to an end by a minor insurgency led by his vindictive wife and her paramour, a disaffected baron. Roy Martin Haines examines Edward II's eventful life and the more salient periods of his reign, situating the monarch in the context of the "empire" he inherited and the aftermath of his unregretted death"--Publisher's description.

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.

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.

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