馬婁的愛德華二世是一部結合性與政治的歷史劇。融合的歷史記載與有目的的設計，馬婁帶著幽默的筆法諷刺愛德華二世的悲劇。愛德華二世的過度欲望，驅使他走向自我毀滅的命運。在馬婁的詮釋下，得知人的主體性從伊莉莎白時代的社會規範中解放開來。應用了德希達的「延異」概念，探討馬婁藉由角色人物身份的流動，顛覆了階級與性別認同。在聲覺上，馬婁運用具有馬基雅弗利的特質的人物呈現愛德華二世的悲劇。安排了愛德華二世與年少的摩提模相反的命運，顛覆了君臣的角色。在者，在揣摩愛德華二世與伊莎貝拉角色的語調與行動中，呈現出馬婁運用雌雄同體的人格特質顛覆了性別認同。國王的猶豫不決與王后的果決動打破了陽性特質與陰性特質的界線。另外，在視覺上，馬婁顛覆了愛德華二世與蓋文斯頓的主僕關係。運用了植物的意象，馬婁刻劃出蓋文斯頓的階級潛越。用太陽的意象，說明了蓋文斯頓無所不在的力量。再者，馬婁運用獅子與螞蟻的動物意象，說明了蓋文斯頓與愛德華二世主僕關係的顛覆。因此，從馬婁顛覆階級與性別認同中得知人的主體性從父權社會體系範中得到解放。性別認同的顛覆呈現了人性的自然本質從以對稱為美感的人性中解放開來。另外，從國王因偏坦愛臣造成的悲劇中得知當時對蘇格蘭國王詹姆士六世的政治隱喻。在馬婁重述愛德華二世的歷史的語言中，其顛覆的特質可在顛覆階級與性別認同中發現。

Marlowe’s Edward II is a history play which is concatenated sexuality and politics to portray Edward II’s tragedy. Mingling historical records with the intentional design, Marlowe caricatures Edward II’s tragedy with sardonic humor. Edward II’s excessive desire drives Edward II to doom. In Marlowe’s interpretation, human subjectivity is emancipated from the hereditary convention of Elizabethan society. Applying Jacque Derrida’s view of “differánce” to Marlowe’s Edward II reveals that Marlowe undermines class and gender difference by portraying fluidity of the characters’ identity. With the rhetorical skills, the subversion of class and gender order is revealed through the representation of the characters. With the verbal device, Marlowe portrays the king’s tragedy by portraying Machiavellian characters. Arranging the opposed fates between Edward II and Mortimer Junior, Marlowe reverses Edward II’s and Mortimer Junior’s social status between a lord and a baron. Also, Edward II’s and Isabella’s utterances and actions show that Marlowe inverts the two protagonists’ gender roles by portraying androgynous temperaments. The king’s vacillation and the queen’s resoluteness can be applied to break up the barrier between masculinity and femininity. What’s more, with the visual images, Marlowe reverses master-slave relationship between Edward II and Gaveston though the plant images. With the sun image, Marlowe portrays Gaveston’s ubiquitous power. Furthermore, with the animal images of a lion and an ant, Marlowe represents the inverse master-slave relationship between Edward II and Gaveston: Edward II’s subordination and Gaveston’s domination. Marlowe destabilizes the difference between a master and a minion by depicting the reversed master-slave relationship. Hence, Marlowe’s portrayal of the class and gender order indicates that the human subjectivity is librated from the bonds of social hierarchy that the patriarchal authority formulates. The subversion of order indicates that the individual’s humanity is emancipated from the symmetry of beauty. Also, the king’s tragedy that his favoritism drives self-destruction can refer to the contemporary reign of King James VI of Scotland. The subversion is detected in a way that Marlowe overturns class and gender order by retelling the history of Edward II.

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