The king's adherence to pleasure principle is further reinstated by Gaveston, "Musicians, that with the touching of a string may draw the pliant king, which way I please: Music and poetry is his delight." .
Gaveston knowing the king perfectly well, plots as soon as he receives the letter, how he would manipulate the gullible king to gain his favour. Gaveston here, is identical to Mephistopheles in Doctor Faustus. In the Renaissance political scenario, the King was the reflection of God, the omnipotent and all-powerful in a state: he is not comparable to any other being except for God. Edward hits another blow to this popular belief, saying, "Thy friend, thy self, another Gaveston!" The noblemen of his court opposed to such statements of the King. Their discontent rose further as the "base" Gaveston was assigned a prestigious position, "I here create thee Lord High-chamberlain, Chief Secretary to the state and me, Earl of Cornwall, King and Lord of Man." .
The King's immaturity and overtly emotional and irrational nature does not allow him to deliver the responsibilities, that are expected of him. Keeping to the Aristotelian triangular plot structure of a tragedy, the play reaches its climax in the Act V Scene I or the Abdication Scene. Here, the irresponsible, immature and weak king undergoes a complete transformation, as he emerges before the audience as a tragic hero in his understanding of the worthlessness of a king stripped off power, much like the King in King Lear. As is said, that we only know the worth of something when we lose it: Edward repents his injustice to his prior position and authority only when he loses it. The titular hero's hamartia was his preoccupation with his own pleasure pursuits and his failure to dispose his power as an ideal King.