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Edward II (Anglais) Relié – 1955

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EUR 25,88
Relié, 1955
EUR 14,47
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EUR 3,58
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Commentaires client les plus utiles sur Amazon.com (beta)

Amazon.com: HASH(0x94c4f5ac) étoiles sur 5 19 commentaires
22 internautes sur 26 ont trouvé ce commentaire utile 
HASH(0x94c85690) étoiles sur 5 Marlowe outdoes himself! 7 mars 2000
Par Sean Ares Hirsch - Publié sur Amazon.com
Format: Broché
Marlowe's final play is also his masterpiece. To be sure, the dramatic events in this play really did happen, but Marlowe shows himself at his best when he paints the picture. At first, Marlowe masterfully allows us to detest Edward for undoing all the fine work of his father Edward Longshanks. We also are able to feel sorry for Mortimer and Isabella. (the eventual villains). Isabella feels neglected and Mortimer can not stand to see the fine work of Edward Longshanks undone. Later, we come to have some respect for Edward II when he shows himself to have some of his father's fine qualities and he crushes the first rebellion against him with courage and intelligence. When the second uprising successful, we no longer are lead into any feelings of admiration for Mortimer and Isabella. Once they have power they are more vile and disgusting than Edward II ever was. By Act 5.1, Marlowe gives Edward II moving soliloquies and does not allow our new won pity to slack for a moment. The final scene of this play when Edward II's 17 year old son Edward III flips the tables, crushes his corrupt mother, has Mortimer put to death, and offers prayers to his murdered father is a scene that is almost unsurpassed in literature. To be sure, this did actually happen, but Marlowe not only tells us what happened, but colors it with his superb mastery of the language.
19 internautes sur 24 ont trouvé ce commentaire utile 
HASH(0x94c856e4) étoiles sur 5 Shakespeare? Who? Marlowe was far better! 19 mai 1999
Par Un client - Publié sur Amazon.com
Format: Broché
Edward the second, or to give it its full title, 'The troublesome reign and Lamentable death of Edward, the second king of England, with the tragical fall of proud Mortimer', is famous for being an Elizabethan 'Gay play', but this is only one of the subjects contained within the play. Politics, cruelty and the Feudal System are all important themes in this, one of the great masterstrokes of Elizabethan literature. The play itself is a history play, set in the 14th century featuring Edward and his previously basished lover, Gaveston, who returns after the death of Edward's father. This return enrages the barons, who were sworn to Edward's father that Gaveston would never return. This is the catalyst for a plot that races around like a cheetah on speed, culminating in one of the most excruciating deaths ever portrayed on stage. "Shakespeare? Who? Marlowe was far better!"
5 internautes sur 5 ont trouvé ce commentaire utile 
HASH(0x94c858b8) étoiles sur 5 Interesting Part of the Brecht Canon 2 septembre 2002
Par R. Albin - Publié sur Amazon.com
Format: Broché
This play is Brecht's adaptation of Marlowe's Edward II. I suspect this play will be surprising to most readers of Brecht because it contains considerably less of the overt social satire and commentary associated usually with Brecht. More than anything else, this play is a character of study of Edward's refusal to heed social conventions. This play is surprisingly successful, at least when read. Brecht elevates Edward's wilfullness into a virtue and makes him a surprisingly sympathetic character. The play displays Brecht's wit and stagecraft quite well.
12 internautes sur 15 ont trouvé ce commentaire utile 
HASH(0x94c85ee8) étoiles sur 5 The troublesome reign and Lamentable death of Edward 25 mai 2000
Par Charlise Tiee - Publié sur Amazon.com
Format: Broché
The edition of Edward II I read was the New Mermaid Series one, which had a very good and informative introduction, and has the spelling modernized. The spelling modernization extends to place names as well as general terms. I am not sure how I feel about spelling modernization, as it is nice to see how the work was originally spelled, but it made the work very easy to read. The play itself is amazing, very engaging even though it is a history, and is mostly based on things that actually happened. The language is not as flowery as Shakespeare, but is lovely nonetheless. Some of the characters of the play are very fickle, and seem to suddenly change as you read the text of the play. (Queen Isabella goes from devoted and self-sacrificing wife to cunning adulteress.) It makes more sense on stage, and after seeing this play, it was easier to see how good it is.
3 internautes sur 3 ont trouvé ce commentaire utile 
HASH(0x94c85f0c) étoiles sur 5 The political dimension is saved in the last scene, betrayed the rest of the time 21 juillet 2014
Par Dr Jacques COULARDEAU - Publié sur Amazon.com
Format: Broché
This is a bad play with an extremely provocative treatment of a political subject, for sure in Marlowe's time and even today. The king in question is a very strange character. For one he was an authoritarian king who was not able to cope with the Scottish rebellion and Robert the Bruce who defeated him in Bannockburn in 1314. He was confronted to the slow rising of Parliament, which meant the rising of the Commons since the peers, Barons and Church, had already risen in 1215 with the Magna Carta.

He was married to Isabella of France, the sister of the French king, and had four children from her, which should mellow down the gay theme. He was at most bisexual, which was not rare in those days, but he gave too many favors to his favorites, particularly Gaveston and later the Despenser family. This irritated the barons and peers who felt neglected.

This being said we have to keep in mind he reigned from 1307 (he was 21 then) to 1327 when he was forced to abdicate in favor of his son. This was a first since Ethelred in 1013, which was 53 years before Hastings and the Norman invasion. So it was a first for the "Norman" dynasty.

Marlowe warps the picture slightly and packs up nearly twenty years of power into five acts that do not provide the time span behind the various events he deals with. That makes the sexual dimension a lot more pregnant than it should have been. The barons appear as sexual bigots whereas they were first of all concerned with their "sacred power," a power they had gained from John Lackland with the Magna Carta. The role of the Church is not extremely clear and the intervention of the Pope to banish Gaveston the first time is not clear either in its motivations: the Pope forced the king to respect the power of the barons and the peers, hence to respect the balance of power between the feudal king and his nobles, thus endorsing the limitation of the king's power who in feudal tradition was all-powerful secularly. The only power that could escape him was the spiritual power of the church. Magna Carta had introduced some kind of sharing of power between the king and his nobles.

This is alluded to several times since the nobles do not have the power nor the liberty to rebel against the king, and yet they do, thus negating the feudal architecture of the English monarchy. They even seem to use the Commons to justify their move. Though these Commons are not specified we can think they are the representatives of the various cities, like the City of London or the City of Westminster which had an important merchant class particularly in the wool industry and wool market which was a stake that the king tried to use, creating discontent.

In the same way the role of Queen Isabella is slightly seen from only one point of view, that of the jealous lover who feels sexually betrayed by the King's "love" for Gaveston, and the real stake which was the attempt of the French King, the Queen's brother, to take control of Normandy is not clearly explored and yet the Queen was sent to France, with her son the future Edward III, to negotiate peace and she betrayed her mission, entered an alliance with an exiled baron and invaded England. She was successful but the baron with whom she was in an alliance tried to take over the throne by using the Queen's support to assassinate the King imprisoned in Berkeley Castle in Gloucester. Strangely enough it is only in the very last scene of the play that confronts Edward III, the newly crowned king, to his mother Queen Isabella and the treacherous Younger Mortimer that the real political stake is finally reached. The young king brings Younger Mortimer down, has him put on a hurdle, dragged to the gallows, hanged, quartered and beheaded, and his head was brought back to him so that he could put it on his own father's casket. And Queen Isabella is taken to the Tower to wait for her trial.

That is the only moment when the political situation is dealt with politically. All along in the play the political actions of the various sides were always based on sexual innuendo. We could compare this play with Shakespeare's Edward III, premiered in 1592, the same year probably as Marlowe's performance of his Edward II that was registered at the Stationers' Company in July 1593, five weeks after Marlowe's death. The final assassination scene of the play makes as explicit as possible the method used to kill the deposed king who was anally impaled on a red hot spit by a paid murderer, Lightborn, while two men, Matrevis and Gurney, were holding the deposed king on a table brought in for that purpose. This latter two men will kill the paid murderer and betray the Queen and her noble sidekick after escaping.

The last comment of Matrevis on the killing is clear about the non-noble way it was performed:

"I fear me that this cry will raise the town,
And therefore let us take horse and away."

Strangely enough only Gurney will escape just after the killing of the paid murderer. Knowing more or less the circumstances of Marlowe's own assassination in some inn by rowdy people, we can suppose the play had some impact in the public that led to this final "execution."

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