![]() ![]() Ultimately, I argue that in adapting the tragic history of Edward II for the popular stage, Marlowe self-consciously draws on the environmentally hazardous landscape immediately surrounding the site of his play’s earliest London performances in order to call attention to the socio-environmental politics of waste disposal at a unique historical moment when the collective exposure to improperly disposed waste was increasing as a result of the city’s exponential (and arguably unsustainable) population growth. ![]() These additional factors were directly related to the growing controversy over improper waste disposal in late-Elizabethan London. Although most critical readings of the play have interpreted this recurrence as a symptom of the trans-historical psychological associability between the homophobic contempt that Mortimer Junior and his co-conspirators demonstrate for Edward’s and Gaveston’s relationship and the scatological punishments to which the deposed king is subjected, I argue in this essay that Marlowe likely had additional motivating factors for increasing the role of open sewers in his dramatic adaptation of his historical sources. ![]() Richard Rowlands scholarly edition presents an old-spelling text which. ![]() 1594) features a conspicuous recurrence of open sewers both on- and off-stage, and its characters repeatedly invoke the image of “channels” glutted with material and bodily waste. The first full critical edition of Marlowes highly controversial Edward II for. ![]()
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