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Summary
Summary
This text features two plays by Schiller, dating from 1787 and 1800 respectively. One written immediately before the French Revolution, the other in its aftermath, both dramatized periods of crisis in 16th-century Europe, and in doing so reflect Schiller's passionate engagement with the great themes of his own age - justice, power, freedom of conscience and legitimacy of government. These new translations into blank verse are accurate and playable. The introduction, notes, and chronology set the plays in their cultural and intellectual background, while a family tree explains the historical relationship between Don Carlos and Mary Stuart.
Author Notes
Friedrich Schiller was born in Marbach, Germany, the son of an army surgeon, a profession for which he himself was later educated. He never wanted to practice medicine, however, and found an outlet for his dissatisfaction in writing poetry and plays.
Schiller's first play was to be performed was The Robbers (1781), a rallying cry for the freedom and idealism of youth against the tyranny and hypocrisy that Schiller saw all around him. The play was an immediate success, but Schiller, who had taken unauthorized leave from his regiment to watch the performance, was arrested and forbidden by the ruling Duke to write anything but medical books in the future. In defiance of the order, Schiller fled the duchy and, although suffering great poverty, continued to write. The remainder of Schiller's life was a struggle against poverty and, in his last years, a struggle against tuberculosis.
Each of Schiller's nine plays is a masterpiece of situation, characterization, subtle psychology, and brilliant dramatic technique. Most of his plays focus on historical subjects, such as Mary Queen of Scots, Joan of Arc, or the Swiss hero William Tell. Schiller uses these period characters and settings to suit his own themes, which center on individual freedom, justice, and heroism. He often sacrifices historical accuracy in order to make a point.
Schiller's place in German literature is very near the top. Among German dramatists there are none better, and perhaps only his friend German poet and playwright Goethe can be called an equal.
(Bowker Author Biography)
Table of Contents
Oxford World's Classics Don Carlos and Mary Stuart | p. iii |
Oxford World's Classics | p. iv |
Introduction | p. vii |
Note on the Translation | p. xxvii |
Select Bibliography | p. xxix |
Dramatis Personae | p. 2 |
Act 1 p. 3 | |
Scene II p. 7 | |
Scene III p. 15 | |
Scene III p. 18 | |
Scene III p. 23 | |
Scene III p. 30 | |
Scene III p. 33 | |
Scene III p. 33 | |
Scene III p. 34 | |
Act 2 p. 37 | |
Scene II p. 38 | |
Scene III p. 45 | |
Scene III p. 46 | |
Scene V [don Carlos, the Duke of Alba.] p. 49 | |
Scene VI p. 53 | |
Scene VII p. 54 | |
Scene VII p. 57 | |
Scene VII p. 69 | |
Scene VII p. 71 | |
Scene VII p. 75 | |
Scene VII p. 77 | |
Scene VII p. 77 | |
Scene VII p. 80 | |
Scene VII p. 82 | |
Act 3 p. 89 | |
Scene II p. 90 | |
Scene II p. 93 | |
Scene II p. 97 | |
Scene V p. 101 | |
Scene V p. 102 | |
Scene V p. 103 | |
Scene V p. 104 | |
Scene VIII p. 107 | |
Scene IX p. 108 | |
Scene IX p. 109 | |
Act 4 p. 122 | |
Scene II p. 122 | |
Scene III p. 124 | |
Scene III p. 129 | |
Scene V p. 131 | |
Scene VI p. 135 | |
Scene VI p. 135 | |
Scene VI p. 136 | |
Scene VI p. 137 | |
Scene VI p. 142 | |
Scene VI p. 143 | |
Scene VI p. 147 | |
Scene VI p. 150 | |
Scene XIV p. 152 | |
Scene XV p. 154 | |
Scene XV p. 155 | |
Scene XV p. 155 | |
Scene XV p. 156 | |
Scene XV p. 156 | |
Scene XX p. 159 | |
Scene XXI p. 166 | |
Scene XXII p. 168 | |
Scene XXIII p. 170 | |
Act 5 p. 171 | |
Scene II p. 175 | |
Scene II p. 176 | |
Scene II p. 181 | |
Scene II p. 185 | |
Scene II p. 185 | |
Scene II p. 185 | |
Scene VIII p. 189 | |
Scene IX p. 192 | |
Scene IX p. 196 | |
Scene IX p. 201 | |
Act 1 p. 205 | |
Scene II p. 210 | |
Scene II p. 210 | |
Scene V p. 213 | |
Scene IV p. 213 | |
Scene VI p. 217 | |
Scene VI p. 226 | |
Scene VIII p. 233 | |
Act 2 p. 237 | |
Scene II p. 239 | |
Scene II p. 252 | |
Scene II p. 254 | |
Scene II p. 255 | |
Scene II p. 256 | |
Scene II p. 264 | |
Act 3 p. 268 | |
Scene II p. 271 | |
Scene II p. 272 | |
Scene II p. 274 | |
Scene II p. 274 | |
Scene II p. 281 | |
Scene II p. 286 | |
Scene II p. 287 | |
Act 4 p. 288 | |
Scene II p. 290 | |
Scene II p. 291 | |
Scene IV p. 292 | |
Scene V p. 296 | |
Scene V p. 298 | |
Scene V p. 298 | |
Scene VIII p. 304 | |
Scene IX p. 305 | |
Scene IX p. 308 | |
Scene IX p. 310 | |
Scene IX p. 313 | |
Act 5 p. 314 | |
Scene II | p. 317 |
Scene II | p. 318 |
Scene II | p. 318 |
Scene II | p. 319 |
Scene II | p. 320 |
Scene II | p. 323 |
Scene II | p. 329 |
Scene II | p. 330 |
Scene II | p. 332 |
Scene II | p. 333 |
Scene II | p. 334 |
Scene II | p. 335 |
Scene II | p. 336 |
Scene II | p. 338 |
Explanatory Notes | p. 339 |