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• W122183750 abstract "Spring 2011 5 ChristopherMarlowe’s “Unholy Fascination”: Performing Queer Edward II in the 1990s Angela K. Ahlgren There are those who believe King Edward II was a homosexual, and those who believe he was not. A very few extant descriptions, centuries-long rumor, and Christopher Marlowe’s 1592 play have led to Edward II becoming known in the twentieth and twenty-first centuries as a homosexual, a sodomite, and a sexual deviant.1 Accounts of the historical Edward’s “brotherly” relationships convince some that he engaged in intimate sexual relationships with men, while others insist that the absence of firm evidence and the fact that he produced children mean he could not have had sex with men.2 That Marlowe himself is thought to have had male sexual partners only adds to Edward’s mystique. Whether or not the historical Edward II actually had sex with men is at this point inconsequential. There is and can be no definitive proof, no catching-in-the-act, that would finally answer the question of his sexual predilections. Still, it is a homosexual Edward II that has “capture[d] the popular imagination.”3 Writing in 1968, literary critic Wilbur Sanders laments the “unholy fascination” readers have with Christopher Marlowe’s Edward II, and, in keeping with long-held notions of homosexuality as a mental illness, worries that readers “confuse the deep satisfactions of great imaginative literature with the idle pleasure of indulging [their] curiosity about the fringes of human sanity.”4 Later, Edward’s purported affairs with Piers Gaveston inspired Chris Hunt’s 1992 novel, Gaveston, which narrates the long-standing love affair from Edward’s point of view. Explorations of Edward II’s sexuality, then, may be less about uncovering truths about his past than about using the past to interrogate contemporary ideas about homosexuality. Marlowe’s Edward II resonates with twentieth- and twenty-first-century notions of homosexuality, depicting Edward as a character that contemporary audiences easily read as gay. The play exhibits many examples of desire openly expressed between men and acknowledged by other characters. When Edward II succeeds his father on the English throne, he lavishes affection and unwarranted titles on Piers Gaveston, a man hated by Edward’s court because of his low birth. Mortimer Senior, an elder in the court, dismisses Edward’s obvious obsession with Gaveston Angela Ahlgren earned her PhD in performance as public practice at the University of Texas at Austin in 2011. She is currently working on a book project based on her dissertation, “Drumming Asian America: Performing Race, Gender, and Sexuality in North American Taiko.” Her research interests include queer, feminist, andAsianAmerican performance, and her writing on taiko drumming has been recognized with awards from American Society for Theatre Research and Congress on Research in Dance. 6 Journal of Dramatic Theory and Criticism as a youthful transgression to be overcome with age. “The mightiest kings have had their minions,” he reasons, listing examples of great men who have loved boys throughout history.5 Edward should “freely enjoy that vain, light-headed earl” while he is young “[f]or riper years will wean him from such toys.”6 Mortimer’s words resonate with twentieth-century sentiments that homosexuality is something to be outgrown. In other words, it’s just a phase. Meanwhile, Edward’s wife, Queen Isabella, becomes jealous of Edward’s love for Gaveston, lamenting that “never doted Jove on Ganymede / So much as he on cursed Gaveston.”7 Finally, Edward’s death is often cited as evidence of his homosexuality: his executioners thrust a hot iron poker into his body cavity through his anus, in a poetic mockery of anal sex.8 Regardless of how Marlowe’s historical sources depicted Edward II, Marlowe’s play emphasizes Edward’s weakness for male companions. Moreover, the play’s performance history since the 1950s suggests that directors interpret the play according to contemporary notions of sexuality.At mid-century, as gayAmerican playwrights likeTennesseeWilliams and EdwardAlbee were masking gay themes in codes and innuendo to avoid detection by censors and the House Un-American Activities Committee (HUAC),9 British directors were interpreting Marlowe’s Edward as an openly homosexual man.10 Toby Robertson, a prominent..." @default.
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• W122183750 date "2011-01-01" @default.
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• W122183750 title "Christopher Marlowe’s “Unholy Fascination”: Performing Queer Edward II in the 1990s" @default.
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• W122183750 doi "https://doi.org/10.1353/dtc.2011.0024" @default.
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