This document provides analysis of references and phrases in Christopher Marlowe's play Edward II that suggest homoerotic and sexually suggestive themes between the king Edward and his favorite Gaveston. The analysis highlights classical references to mythology, descriptions of luxury, and suggestive language that imply an intimate relationship between Edward and Gaveston beyond mere friendship.

1. Edward II
Christopher Marlowe 1592

2. 1 wanton poets
The term wanton suggests poetry linked
to love, passion and lascivious
behaviour.

3. 3
This suggests Gaveston’s manipulation
of the king, and thus implies he may
prove to be dangerous to Edward.

4. 5 masques
balls or gatherings where guests came
in disguise (think R&J).
the inclusion of this detail is another hint
that deceit or self-interest may form part
of Gaveston’s attachment.

5. 8 sylvan nymphs
this classical reference is to beautiful
mythical creatures that were believed to
live in woods.

6. 9 satyrs
mythical beasts that were half man, half
goat and particularly lecherous; another
classical image.

7. 10 antic hay
this reference to pagan activities again
reinforces the anarchic nature of
Gaveston’s relationship with Edward.

8. 11 Dian’s shape
Diana was the goddess of love, but note
the reference is to a boy’s shape, again
suggesting the king’s penchant for men.

9. 12 gilds the water as it
glides
this alliterative phrase suggests
sensuality; the pace is slowed by the
elongated i sound in glides.

10. 13 Crownets of pearl
the description suggests luxury, while
the word naked reinforces the sensual
nature of such an encounter.

11. 14 sportful
playful, frolicking

12. 15
Another hint of Gaveston’s homosexual
leanings.

13. 16 hard by
this can be read as a double entendre,
meaning ‘close by’ but also having
sexual connotations.

14. 17 Actaeon
another classical reference from Ovid’s
Metamorphoses; the shepherd Actaeon
is changed into a deer (hart, 19) because
he saw the goddess Diana bathing.

15. 17 peeping
emphasizes the idea of a voyeur
enjoying an unintended view of the
scene.

16. 20 die
another sexual image.
the French called the moment of sexual
climax ‘le petit mort’.

17. 21
This line reiterates Gaveston’s claim of
deep knowledge about the king’s
pleasures.