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Themes

Social Mobility: One of the most prominent themes in Edward II is social mobility. In scene 4, Mortimer calls Gaveston a “base peasant” (4.l7) who is “hardly a gentleman by birth” (4.l.29). Mortimer uses this language throughout the play to attack Gaveston. When Mortimer Senior tells Mortimer that “the mightiest kings have had their minions” (4.l.390), Mortimer responds that Gaveston’s “wanton humour grieves not me, / But this I scorn, that one so basely born / Should by his sovereign’s favour grow so pert / And riot it with the treasure of the realm” (4.ll.401-04).

Homoeroticism: Edward and Gaveston’s homoerotic relationship provides the backdrop for the play. When Gaveston plans to produce his masque, he will have “a lovely boy in Dian’s shape… / And in his sportful hands an olive tree/ To hide those parts which men delight to see” (1.ll.60-63). Gaveston’s masque relies on its ability to produce homoerotic desires. The Queen feels jealous of Gaveston and Edward’s relationship, noting: “For now my lord the king regards me not, / But dotes upon the love of Gaveston. / He claps his cheeks and hangs about his neck, / Smiles in his face and whispers in his ears” (2.ll.49-52).

Sacrilege: Edward II and Gaveston attack The Bishop of Coventry, who advocated for Gaveston’s exile prior to the play.

Gaveston: Saving your reverence, you must pardon me.

[He lays hold of him.]

Edward: Throw off his golden mitre, rend his stole,

And in the channel christen him anew (1.ll.185-89).

Edward and Gaveston’s violation of the Bishop mocks Christianity. They attack the symbols of Christianity—baptisms, pardons, and church attire—to humiliate the Bishop. After Edwards allows Gaveston to take the Bishop’s possessions, Gaveston states, “A prison may beseem his holiness” (1.l.206).