Edward —II Young Mortimer’s character

Edward —II

Young Mortimer’s character

Marlowe’s ‘Edward II’ is a play of exception. His towering heroes are no more in Edward II. Here his hero droops in fear. The dramatist has not focused the entire attention on him. And young Mortimer scratches the heroic deeds in place of the hero. Mortimer is raised to the status of a national hero whose only concern is to secure the interest of his land. He remains an uncompromising opponent of the king’s favourite, and not of the king himself. He is the creator’s almost interest and attention. A. E. Boas has presented the bird’s eye view of Mortimer’s character. Without him the drama may loss conflicting zeal undaunted.

Young Mortimer becomes the head of the barons in their conflict with the king over his favourites. In the earlier part he seems to stand for a national cause. He plays the role of a defender of England against the French favourite Gaveston’s visions influence. His fumy and even rebellions motif are dangerous actions. He rightly condemns the king for his base love for his minion and reminds him of his royal duty—

                              “You have matter f more weight to think upon,”

It is he who says to the king regarding Gaveston’s banishment that they would not allow Gaveston to enter the boundaries of their country because—

                              “Mine uncle here, this earl and I myself

                              Were sworn to your father into the realm

                              ……………………………………………….

                              For Mortimer will hang his armour up.”

When the develish clutch of Gaveston makes the king to forget all the noble duties, Mortimer prepared to rebel against King. He says—

                              “We’d hate him from the bosom of the King

                              ………………………………………………….

                              Will be the ruin of the realm and us.”

Mortimer’s hate for Gaveston is beyond imagination. He is bent upon removing him stacking all his interest and evergy. He instigates all the Barons to rise in revolt against the king to banish Gaveston. He asks arch Bishop of Canterbury—

                              “Then will you join with us, that be his peers

                              To banish or beheaded that Gaveston.”

Mortimer changes with the waves of actions. There is a drastic change in him, as in Isanella ; his co-parther of the crime. He leaves England, along with Kent, goes to France and joins the camp of the aggrieved queen. He wanted to take revenge against King. The angry and spirited youth of the earlier scenes turns into an ambitions, unscrupulous, power loving tyrant in the later scenes. He grows mean, greedy, cruel and hypocritical.” Power corrupts, absolute power corrupts absolutely.” Mortimer’s growing power makes him treacherous, villainous and tyrannical. The king is defeated by his army and captured. His favourites are arrested by his army and captured. His favourites are arrested and slain. The king is made to abdicate his throne. Mortimer carries an illicit love with the queen and did not even spare the king.

The most remarkable element in Mortimer’s character is his despotic arrogance. He is ambitions, authoritative and proud. He loves power and tyranny. Like Tamberlaine, he ulters—

                              “The Prince I rule, the queen do I command,

                              And with a lowly conge to the ground

                              The proudest lords salute me as I pass ;

                              I seal, I cancel, I do what I will.”

He thinks and speaks in the vein of Tamberlains, as the man who make fortune’s wheel turn as he pleases.

Mortimer is a Machiavellian character with great political intellectual spirit. He feels no hesitation to kill the king, Kent and even light born in order to save himself. Like Macbeth, and Richard II, Mortimer is always conscious of his position—

                              “Fear’d I am more than love’d

                              Let me fear’d.”

Power makes a Machiavelli of him and leads him to become cruell and bloody. Even at the last moment when his tragic doom comes, he faces with indomitable spirit of Machiavellian echo—

                              “Base Fortune, now I see that in the wheel

                              There is a point to which when men aspire

                              ……………………………………………….

                              Why should I grieve at my declining fall?”

His parting words for his paramour touches everyone—

                              “Farewell, fave queen, weep not for Mortimer,

                              That scorus the world, and as a traveler,

                              Goes to discover countries yet unknown.

                              But this is a mood that is truly heroic.”

So, Marlowe’s mightly line and renaissance motif capturer Mortimer in Machivellism culture. He is devoted to selfish ambition. There is no inner conflict or prick of conscience in him. He appears as an open tyrant and becomes Isabella’s paramour. There is not the least sense of guilt in him. This is truly Machiavellian and Machiavellism is the true of spirit of Maslour. Homocentric Mortimer’s aspiration brings praise worthy notes—

                              Whiles I have a sword, a hand, a heart,

                               will not yield to any such upstart.”