Character Analysis (OCR A-Level English Literature): Revision Notes
Character Analysis
This revision note explores the key characters in Christopher Marlowe's Edward II, examining their roles, motivations, and significance within the play. Understanding character development is essential for OCR A-Level English Literature H472/01, particularly for both Section A (single text analysis) and Section B (comparative analysis). Each character analysis includes key quotations, contextual information, and thematic connections to support your exam responses.
Major characters
Edward II: The tragic hero
Edward II stands at the centre of Marlowe's play as a tragic protagonist whose personal weaknesses lead to his downfall. His character embodies the classic tragic hero destroyed by excessive pride and flawed judgement.
Fatal flaws and hubris
Edward's opening declaration, My Gaveston is banished, yet I love him (1.4.30), immediately establishes his defining characteristic: an overwhelming devotion to his favourites that blinds him to his royal responsibilities. This represents his hubris - an excessive pride that demands absolute loyalty whilst he neglects the duties required of a monarch. His pompous attitude creates conflict with the nobility from the very start of the play.
Understanding Hubris
Hubris is a key concept in tragic drama, referring to excessive pride or self-confidence that leads to a character's downfall. In Edward's case, his hubris manifests as an unwavering belief that his personal desires should take precedence over his royal duties, ultimately causing his destruction.
Financial negligence
Edward's irresponsible spending habits reveal his prioritisation of personal pleasure over state necessities. The line Sweet prince, we come to joust and tournament (1.1.50) shows how he squanders resources on entertainment and spectacle rather than military defence. This financial recklessness weakens his political position and provides ammunition for his opponents.
Passionate devotion as fatal flaw
Edward's passionate attachment to his minions - first Gaveston, then Spencer - becomes his undoing. His extreme declaration, I will have heads, and lives, for him, as many / As I have manors, castles, towns, and towers (1.4.37-38), demonstrates how his emotional bonds blind him to political reality. He places personal relationships above the welfare of the kingdom, prioritising individual loyalty over collective good.
Critical Tragic Flaw
Edward's inability to separate personal desire from political duty is his fundamental tragic flaw. This is not simply about loving Gaveston or Spencer - it's about his refusal to balance these relationships with his responsibilities as monarch. Exam responses should emphasise this distinction between private emotion and public duty.
The tragic fall
Edward's tragic arc reaches its climax in his abdication speech: Here, take my crown, the life of Edward too (5.1.55). This moment reveals his tragic awareness - the recognition of his own downfall that comes too late to prevent it. His journey from divinely appointed monarch to prisoner murdered in a latrine completes one of drama's most devastating tragic trajectories.
Contextual significance (AO3)
Marlowe uses Edward's failure to critique divine-right absolutism - the belief that monarchs are chosen by God and answerable only to Him. Edward's inability to balance personal desire with political duty exposes the dangers of unchecked royal power and the limitations of divine-right theory when rulers prioritise private concerns over public responsibility.
Key themes: Power, loyalty, kingship, homoeroticism
Gaveston: Loyal outsider and catalyst
Gaveston functions as both devoted companion and catalyst for political conflict. His low-born, foreign status makes him an outsider who disrupts the established social order.
Social position and manipulation
As a low-born foreigner, Gaveston occupies a vulnerable position in English court society. His opening soliloquy, The sight of London to my exiled eyes, / The walking of the streets by day or night (1.1.15-16), reveals his emotional connection to England and to Edward. However, he also demonstrates cunning manipulation: I must entreat him to depose the lords (1.1.52), showing his awareness of political strategy.
Genuine devotion
Despite accusations of self-interest, Gaveston displays authentic loyalty to Edward. His response to Edward's recall, Sweet prince, I come; these lines draw my desires (1.1.1), demonstrates sincere emotional attachment. Even facing death, Gaveston begs to see Edward one final time: Let me but see my sovereign once again (2.5.106). This loyalty persists despite the barons' contemptuous treatment - Away with the peasant! (1.4.112) - highlighting class prejudice alongside personal animosity.
Literary Technique (AO2)
Marlowe employs exotic rhetoric to elevate Gaveston above simple stereotypes. The rich, sensual language associated with Gaveston humanises same-sex devotion during a period of intense homophobia among the nobility. This linguistic elevation challenges audience prejudices and creates sympathy for the relationship.
Contextual significance (AO3)
Gaveston reflects Elizabethan xenophobia towards foreign favourites at court. Historical parallels include the Earl of Essex, whose influence over Elizabeth I generated similar resentment. This xenophobia combines with homophobia and class prejudice to explain the barons' extreme hostility.
Key themes: Class, loyalty, outsider status
Isabella: The She-Wolf transformation
Isabella undergoes one of the play's most dramatic character transformations, evolving from devoted wife to ruthless political operator.
From loving queen to She-Wolf
Isabella's character arc can be traced through contrasting quotations. Initially, she appears as a loving, submissive wife: Down on her knees, all are false but Edward's queen (1.2.15) and My lord, why do you spurn at me so much? (1.2.14). These lines establish her initial devotion and confusion at Edward's rejection.
However, repeated humiliation transforms her. Rejected first for Gaveston, then for Spencer, Isabella allies with Mortimer and becomes the ruthless 'She-Wolf of France'. Her triumphant declaration, Now will I rule, since Edward is subdued (4.7.50), marks her complete transformation into a Machiavellian political operator.
Character Transformation
Isabella's transformation from submissive queen to political manipulator is one of the most dramatic in the play. Track this change through her language - from pleading and emotional appeals early in the play to commanding, calculated rhetoric later. This linguistic shift is crucial evidence for AO2 analysis.
Political shrewdness and weakness
Isabella demonstrates considerable political intelligence, successfully orchestrating Edward's deposition and installing Prince Edward as puppet king. However, her relationship with Mortimer exposes vulnerability - she becomes manipulated by his ambitions. Mortimer's accusation, Isabella, thou hast stol'n my right (5.4.85), reveals how her political power remains contingent on male support.
Literary technique (AO2)
Marlowe charts Isabella's moral descent through a rhetorical shift from submissive verse to Machiavellian couplets. Her early speeches use pleading, emotional language, whilst her later declarations employ calculated, commanding rhetoric. This linguistic transformation reflects her psychological change from victim to aggressor.
Contextual significance (AO3)
Isabella embodies French queen stereotypes and Elizabethan fears of Catholic intrigue. The nickname 'She-Wolf of France' reflects English prejudice against powerful foreign women. Her character also taps into anxieties about female political power during Elizabeth I's reign.
Key themes: Gender, power, betrayal
Mortimer Junior: Ambition's mirror
Mortimer begins as a noble patriot but becomes corrupted by ambition, ultimately mirroring Edward's own faults.
From patriot to tyrant
Mortimer's character arc parallels Edward's in reverse. He starts as a principled defender of England: The barons overrule and tyrannise (1.2.18) and Gaveston misgoverns Edward's land (1.2.20). These early speeches establish him as a noble patriot opposing Edward's misrule for legitimate political reasons.
However, power corrupts him. His declaration, Now will I wear the crown of Poland (4.6.30), reveals naked ambition replacing principled opposition. By the play's end, he claims royal authority for himself: I wear the crown, 'tis mine as right (5.4.85), demonstrating complete moral collapse.
Parallel Structures (AO2)
Marlowe creates deliberate parallels between Edward and Mortimer to show how power corrupts universally. Both characters begin with legitimate claims to authority but become consumed by personal ambition. Both use hyperbole and classical allusion. This structural mirroring is essential for understanding the play's central message about absolute power's corrupting influence.
The ambiguous Latin letter
Mortimer orchestrates Edward's murder through linguistic manipulation. The ambiguous Latin phrase Eduardum occidere nolite timere bonum est (5.4.45) can be read two ways depending on punctuation:
- Eduardum occidere nolite, timere bonum est - "Do not kill Edward, to fear is good"
- Eduardum occidere nolite timere, bonum est - "Do not fear to kill Edward, it is good"
This linguistic ambiguity allows Mortimer to order murder whilst maintaining deniability - a perfect example of Machiavellian manipulation.
Key Exam Point: The Latin Letter
The Latin letter scene is frequently examined. Understand both possible translations and how this demonstrates Mortimer's cunning - he can order Edward's death while maintaining plausible deniability. This is quintessential Machiavellian politics and shows Marlowe's sophisticated use of language as a political weapon.
Justice restored
Prince Edward's sentence, Go take him hence, and see him executed (5.6.80), restores justice and legitimate order. Mortimer's execution demonstrates that unlawful ambition leads to destruction, regardless of initial motives.
Literary technique (AO2)
Marlowe creates parallel rhetoric between Edward and Mortimer. Both characters use hyperbole and classical allusion, revealing how power corrupts universally. This structural mirroring emphasises the play's central message about absolute power's corrupting influence.
Contextual significance (AO3)
Mortimer reflects Elizabethan fears of aristocratic overreach, particularly the Essex Rebellion (1601). Elizabeth I's court witnessed several attempts by ambitious nobles to exceed their authority, making Mortimer's story politically relevant and cautionary.
Key themes: Power corrupts, justice
Supporting characters
Prince Edward: Hopeful successor
Young Prince Edward provides hope for renewal and restoration of legitimate order. His character represents the potential for good governance after his father's failures.
Maturation and decisive action
Prince Edward develops from loyal son - I'll be as dutiful as Prince may be (2.2.20) - into decisive king. Witnessing his mother Isabella's alliance with Mortimer forces him to mature rapidly. His declaration, My father sleeps, but I'll revenge his death (5.4.90), demonstrates newfound authority.
Justice and restoration
The young king confronts both conspirators. To Isabella: Mother, you are suspected for his death / And so shall you be (5.4.90-91). He orders Mortimer's execution, thereby restoring divine-right order and legitimate succession. His decisive action contrasts sharply with his father's indecisiveness.
Literary Technique (AO2)
Marlowe demonstrates Prince Edward's rhetorical maturity through linguistic changes. Short, commanding sentences replace the adolescent verse of earlier scenes, showing psychological growth through stylistic transformation. This technique of using language to chart character development is a hallmark of Marlowe's dramatic skill.
Contextual significance (AO3)
Prince Edward's successful restoration reflects Tudor propaganda celebrating stable succession. For Elizabethan audiences worried about succession crises, the play's ending offers reassurance that legitimate authority ultimately prevails.
Key themes: Renewal, justice, kingship
Kent: Loyal turncoat
Kent embodies the conflict between personal loyalty and political conscience. His character demonstrates the difficulty of maintaining integrity during civil conflict.
Divided loyalties
Kent's character arc involves painful shifts in allegiance. Initially, he defends Edward: Brother, thou shalt not lose thy crown for me (1.1.180) and My sovereign lady, stay, I'll be his surety (1.1.185). These declarations establish his initial fraternal loyalty.
However, fear of Gaveston's influence drives him to join the barons. This decision torments him, and he eventually regrets supporting Mortimer's tyranny.
Reconciliation and death
Kent attempts to aid Edward's escape: Brother, I come to have thee from this place (5.3.40). His final words, I repent me that I ever sinned (5.3.45), express genuine remorse. He dies seeking reconciliation, caught between competing duties.
Contextual significance (AO3)
Kent's character mirrors Kent in Shakespeare's King Lear - both are loyal retainers caught in royal folly, both suffer for their conscience. This intertextual connection enriches understanding of loyal servants' dilemmas during political crises and shows the broader literary tradition of the conflicted courtier.
Key themes: Loyalty, conscience
Spencer Junior: Secondary minion
Spencer Junior represents a more pragmatic type of royal favourite compared to Gaveston's idealised devotion.
Political opportunism
Spencer replaces Gaveston as Edward's favourite, earning an earldom through political savvy rather than pure emotional connection. His declaration, We will both watch while Edward spends his time (2.2.260), reveals calculated loyalty based on advantage. The line My lord, here is the gold you sent for (2.2.250) emphasises his role as facilitator and financial manager.
Loyalty unto death
Despite opportunistic origins, Spencer remains loyal through deposition: Sweet sovereign, yet I come to be partaker (3.1.25). He dies alongside Edward, demonstrating that his loyalty, though perhaps initially self-serving, becomes genuine.
Literary technique (AO2)
Marlowe portrays Spencer as less idealised than Gaveston - more pragmatic courtier than romantic lover. This contrast creates a more complex portrait of favouritism, showing different motivations and relationship dynamics.
Key themes: Opportunism, loyalty
Exam techniques and analysis models
Understanding how to apply character analysis in exam responses is crucial for success. The following sections demonstrate how to construct effective analytical responses for different question types.
Section A: Single text analysis (Deposition extract)
When analysing a specific extract, focus on how Marlowe uses literary techniques to present character:
Worked Example: Analysing the Deposition Scene
Marlowe's use of antithesis - contrasting crown against life (5.1.55) - within formal pentameter preserves Edward's tragic dignity even in defeat. The measured verse form suggests retained royal status despite political humiliation. Meanwhile, stichomythia (rapid line-by-line dialogue exchange) with the barons - Yield! / I will not! - accelerates verbal combat, creating dramatic tension through short, sharp exchanges. Staging the physical crown removal creates visual pathos absent from Holinshed's prose chronicles, transforming historical narrative into theatrical spectacle.
Key elements:
- Identify specific literary techniques (antithesis, pentameter, stichomythia)
- Explain their effects on character presentation
- Connect to broader tragic themes
- Reference staging and visual elements
- Compare to source material where relevant
Section B: Comparative analysis (versus Tennyson)
Comparative questions require balanced analysis of both texts with clear points of connection:
Worked Example: Comparing Marlowe and Tennyson
Marlowe's solar hyperbole - describing Edward and Gaveston as twin suns (1.1) - mythologises their relationship beyond Tennyson's restrained astronomy in In Memoriam. Both poets chronicle homosexual grief, but different historical contexts shape their approaches. Elizabethan sodomy laws contextualise Marlowe's subversive elevation of same-sex love, making his open celebration remarkably bold. Conversely, Tennyson's coded Victorian mourning reflects 19th-century requirements for discretion. Both texts push against societal constraints, but Marlowe's directness contrasts with Tennyson's necessary indirection.
Key elements:
- Establish clear comparative framework
- Identify specific textual techniques in both works
- Explain contextual differences (AO3)
- Show understanding of historical constraints
- Draw meaningful conclusions about similarities and differences
Quick reference table
This table provides essential character information for rapid revision:
| Character | Key Quote | Flaw/Virtue | AO3 Context |
|---|---|---|---|
| Edward II | Take my crown | Hubris | Divine right |
| Gaveston | I come! | Loyalty | Xenophobia |
| Isabella | Now I rule | Ambition | She-Wolf myth |
| Mortimer | Latin letter | Power lust | Essex fears |
| Prince Edward | Revenge his death | Justice | Tudor stability |
| Kent | Brother... | Conscience | Loyal retainer |
| Spencer | Financial aid | Opportunism | Court politics |
Remember!
Key Points to Remember:
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Edward II is a tragic hero whose hubris and passionate devotion to favourites lead to his catastrophic downfall, moving from divine-right monarch to murdered prisoner.
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Character transformations drive the plot - Isabella evolves from submissive queen to She-Wolf, whilst Mortimer shifts from noble patriot to tyrant, mirroring Edward's own corruption.
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Context is crucial for AO3 - understand Elizabethan attitudes toward divine-right monarchy, xenophobia, homophobia, and aristocratic ambition. Connect characters to historical figures like Essex.
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Analyse Marlowe's techniques for AO2 - examine rhetoric changes (Isabella's shift to Machiavellian couplets), parallel structures (Edward/Mortimer), exotic language (Gaveston), and dramatic devices (stichomythia, antithesis).
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Use quotations precisely - embed short, relevant quotations with act, scene, and line references to support analytical points about character motivation and development.