Comparing Two Plays Edward II by Christopher Marlowe and Richard II by William Shakespeare - Literature review Example

Comparing the deposition scenes of Edward II by Christopher Marlowe and Richard II by William Shakespeare. The two plays Edward II by ChristopherMarlowe and Richard II by William Shakespeare both deal with the theme of kingship, and what happens when a king is deposed. It is likely that Shakespeare was aware of Marlowe’s earlier work, and was influenced by it, but it is clear also that there are differences in the way that the two authors depict the fallen king and the implications that lie behind the story for the king himself, and for his subjects. This paper examines the deposition scene in the two plays to draw out each king’s relationship to kingship, his use of language, his mental state, his deployment of the Passion narrative, and his use of the crown as a prop. Following this analysis of the two kings, there is a discussion of the theatrical techniques the authors use to highlight the main issues at stake, for example the setting and role of the other characters in the deposition scene and the way that the drama unfolds on the stage. Finally the similarities and differences between Shakespeare and Marlowe are explained, leading to the conclusion that Shakespeare has borrowed some aspects from Marlowe but at the same time he has pushed Marlowe’s art in a number of new directions. In the deposition scene (Act V, Scene i) Marlowe’s King Edward II makes it very clear that he sees himself as belonging to a category that is very different from ordinary citizens: “The griefs of private men are soon allayed;/ But not of Kings” (Marlowe, lines 8-9). In order to illustrate the different elements in the social hierarchy, Edward uses animal imagery. The people are like “the forest deer” (Marlowe, line 9), while he describes himself as “the imperial lion” (Marlowe, line 11). The usurper Mortimer is compared to “a tiger’s jaws” (Marlowe, line 118) and the alliance between the people is symbolized in the phrase “Inhuman creatures, nursed with tiger’s milk” (Marlowe, line 72). This imagery depicts the political power of the new king and his entourage as something dangerous like a tiger. His own power is also dangerous, but the symbolism of the lion is that of a ruler. This rests on Biblical language which links the lion with godly ruling families. In Shakespeare’s deposition scene (Act IV, Scene i) the king also assumes an entirely different and superior status, but his approach is much more sophisticated. King Richard makes the religious allusions even more obvious by the analogy of the Passion of Christ. Shakespeare’s King Richard implies that he is like Christ, while the usurper and his many followers are like Judas: “So Judas did to Christ; but he, in twelve,/Found truth in all but one; I, in twelve thousand, none.” (Shakespeare, line 171) The analogy is expanded, as the King accuses the bystanders of being like the Biblical Pontius Pilate: “Though some of you, with Pilate, wash your hands…” (Shakespeare, line 239). Kingship in both plays is seen by the kings as a status that is fundamentally different from ordinary citizenship, and ordained by god, but it is depicted as something affected by the traitorous actions of other people. The two kings use language in different ways to express their reaction to the impending loss of their kingly status. Marlowe’s king Edward II is aware that he is experiencing a great deal of negative feelings when he confesses that “outrageous passions cloy my soul” (Marlowe, line 19) and he shows extreme “rancour and disdain” (Marlowe, line 20) and speaks of “the fury of your king” (Marlowe, line 73). When Winchester addresses him as “My lord” (Marlowe, line 113), Edward answers with short and angry commands: “Call me not lord!/ Away, out of my sight” (Marlowe, lines 114-115) before he relents and realizes that he does not have the power to command any more. Shakespeare’s King Richard is also very grieved by what has happened, but he turns his anger into bitter satire, as for example when he asks to be tutored in submission because, he says, “I hardly yet have learn’d/To insinuate, flatter, bow, and bend my knee.” (Shakespeare, lines 164-165). In this he is ironically criticizing those who previously acted in this fawning fashion by pretending that he needs to learn these skills. When Northumberland uses the respectful address “My lord-“ (Shakespeare, line 523) Richard immediately interrupts him and declares “No lord of thine, thou haugh’ insulting man,/Nor no man’s lord; I have no name, no title” (Shakespeare, lines 254-255). Shakespeare borrows the idea of this from Marlow, but spins it into an eloquent demonstration of Richard’s kingly skill. The proud retort is a deliberate strategy to make it hard for the people present to pass from one king to the next. He will not accept empty words, but insists that they speak the truth. He takes a mirror and shatters it on the floor, to demonstrate the violence that is being done to his kingly status. Richard’s use of symbols is more graphic and direct, combining their significance in terms of what it means to depose a king, with thinly disguised insults. He refers to the people present in the room, rather than classical literary figures, and there is evidence also of Shakespeare’s talent for finding an arresting and uniquely English image to capture the essence of a situation. This can be seen in the lines “O that I were a mockery king of snow,/ Standing before the sun of Bolingbrooke/To melt myself away in water drops!” (Shakespeare, lines 260-262) Again he uses irony to taunt the new king saying “and I thank thee, king,/ For thy great bounty, that not only giv’st/Me cause to wail, but teaches me the way/How to lament the cause…” (Shakespeare, lines 299-302). When the new king calls him “fair cousin” (Shakespeare, line304), Richard again mocks him by pointing out that a king is flattering him, which makes him even greater than before. Where Marlowe points out the conflict that arises from the deposition in terms of everyone’s roles and labels, Shakespeare points out the irony and shows the Richard playing with the contradictions that arise. Shakespeare’s scene is therefore a more sophisticated treatment which adds layers of meaning to the key events as they happen. The dramatic mirror breaking, the ceremonial laying down of the trappings of kingship, and the barbed comments are Richard’s way of coping with the loss of his royal status and it shows him as a clever man, wounded by what has happened, but not a broken spirit. Mentally, Richard is strong and aware of everything that is going on around him. He acts like a king, even when he is a king no longer. Marlowe’s king Edward, in contrast, is clearly tortured and depressed because he mentions his “despairing thoughts” and “endless torments) (Marlowe, lines77-78) He doubts his own sanity, saying “Grief makes me lunatic” (Marlowe, line 116). Edward also favors a dramatic gesture, namely taking his crown, which is “Wet with my tears, and dried again with sighs” (Marlowe, line120) and asking the people present to take the crown to the Queen, and bring it back to be dipped in his blood if she is not moved by it. (Marlowe, lines 121-122) This allusion to his blood is intended as a reminder that a kingship is supposed to be a hereditary thing, blessed by god and handed down from father to son through the royal blood line. The crown is thus directly linked with the king’s physical body, but only in a hypothetical suggestion. Likewise, Edward mentions several figures from classical myths to describe his tragic state, for example likening the crown to “the snaky wreath of Tisiphon” (Marlowe, line 60) and calling to god with the Greek name of “immortal Jove.” (Marlowe, line 146) In this the king is showing off his education and making parallels which only the intellectuals present would understand. It is as if he is casting himself in the role of a character in a book, fulfilling the actions that he is required to make so that the story can reach its tragic end. Any rebellion that he feels is lost in self-pity, and self-dramatization. Marlowe’s play thus has a certain stiffness about it, and the short lines lead the scene to a speedy and seemingly inevitable conclusion. One of the most striking differences between the two deposition scenes is the way that Shakespeare elevates the tone into something more like a religious ceremony. There is a lot more talking in this scene, than in Marlowe’s scene, and the subject matter is serious and at times even academic. The characters openly reflect on what is happening, and more importantly what it all means. Richard reflects, for example, on how the loss of the crown is actually a loss of his caring for the people (Shakespeare, lines 195-199). At the end of the deposition scene the abbot and the bishop remark on the woeful nature of the scene, and the fact that it will reverberate down to the next generation. (Shakespeare, lines 321-324) In these parts of the scene Shakespeare educates the audience on the political and moral issues behind the act of deposition, and the meaning that this has on the whole country and future generations. Shakespeare follows Marlowe’s lead in finding moments of drama to enliven the scene. Richard solemnly divests himself of his kingly attributes repeating the phrase “With mine own tears…/hands…/tongue…/breath…” (Shakespeare, lines 207-210) The vocabulary sounds like the words of Christ at the Last supper, or indeed the vows that a bride and groom exchange at a wedding. It all has the ring of history as it happens on the stage. This again hammers home to the assembled company in the lavish surroundings of Westminster hall that something of immense importance and divine significance is taking place. Marlowe’s scene is intimate, with only four people present, while Shakespeare has an assembled company of onlookers making it much more of a public event. In summary, then, we can say that Shakespeare has borrowed many images and dramatic touches from Marlowe, but he has given the idea of deposing a king a much more sophisticated and ironic twist. Both playwrights use Biblical imagery and the symbol of the crown to debate what kingship is and how it affects the country at large. Shakespeare’s imagery is more memorable, however, and is created and adapted specially for this one situation, while Marlowe uses stock images from classical literature. Marlowe’s king is angrier, and in some ways to be pitied for the grief that he displays. Shakespeare’s King is more complex and subtle, and arouses both pity and admiration, because he turns his demise into a cause for heavy irony. References Marlowe, Christopher. Edward II. Act V Scene i. Text available online at: http://www2.prestel.co.uk/rey/edward2.htm Shakespeare, William. Richard II. Act IV, Scene i. Edited by Peter Alexander. London: 1954, pp. 239-240. Read More