his sportful hands an olive tree / To hide those parts which men delight to see" (1.2.60–63). Gaveston is deeply aware of the theatre's ability to eroticize young male actors. The Queen feels jealous of Gaveston and Edward's relationship, noting: "For now my lord the king regards me not, / But dotes upon the love of Gaveston. / He claps his cheeks and hangs about his neck, / Smiles in his face and whispers in his ears" (2.2.49–52). Much of the criticism on Edward II focuses on homoeroticism and power. For example, Emily Bartels's Spectacles of Strangeness—which focuses on how Marlowe depicts "others" and how that depiction exposes "demonization of the other as a strategy for self-authorization and self-empowerment"—has a chapter on Edward II entitled "The Show of Sodomy". In this chapter, Bartels focuses on how sodomy is politicized, exposed and defined, stating, "In Marlowe, sodomy is finally neither unseeable nor unspeakable. Rather it is exposed as a subject obscured and displayed as beyond display by those who would maintain a hegemonic hold over 'what the matter meant.'" In order to show how sodomy works in Marlowe's plays, Bartels places particular attention to the tension between how sodomy is hidden in the play and then sanctioned as the means of killing Edward. Bartels pays close attention to the fact that Lightborn's murder of the king leaves no marks on his body. She concludes that "sodomical leanings...are not politically corrupt. Though largely unspoken, they are not unspeakable." Sodomy was not a clearly defined act in the early modern period. Jonathan Goldberg asserts that sodomy was "invisible so long as homosexual acts failed to connect with the much more visible signs of social disruption represented by unorthodox religious or social positions". David Stymeist reconciles two opposing critical approaches to Edward II—one that views the play as subversive towards sexual norms and one that upholds sexual norms—by paying attention to how the play presents alternative sexuality and how it punishes sexual transgressions. The spatial difference between Ireland and England is the significance of how much Edward's state wanted Gaveston gone, but at the same time, if Gaveston travels such distance to see the King, it puts a big spotlight on their desire to see one another and their intimacy. Queer brotherhood Queer brotherhood specifically refers to the sexual brotherhood intertwined with the political aspects of Ireland and England. In Edward II, Ireland is