Skip to content
Scan a barcode
Scan
Paperback Mary Stuart Book

ISBN: 1530781418

ISBN13: 9781530781416

Select Format

Select Condition ThriftBooks Help Icon

Recommended

Format: Paperback

Condition: New

$12.18
50 Available
Ships within 2-3 days

Book Overview

Excerpt from Mary Stuart: A Tragedy in Five Acts From the German of Schiller Descriptions furnished by the Hayden Costume Co., 243 Tremont St., Boston, Mass., to whom all interested persons are referred for further details. Queen Elizabeth. Act 1. - Grey velvet gown, open front, over underskirt of same color; waist high cut with puff sleeves to elbow and tight-fitting to wrist; ruff for neck; head-dress of pearls. Act 2. - Black and gold brocade open front gown, over white brocade underskirt; waist cut to a point; ruff for neck. Red velvet robe, very long, lined with ermine; brilliant coronet with small crown in centre. Act 3. - Dark green velvet gown, full sleeves slashed with light green satin; underskirt of yellow brocade, and head-dress of green velvet trimmed with pearls. Act 4. - Yellow and white brocade gown, with slashed sleeves, and hanging sleeves of yellow; white satin front jewelled with stones and pearls; high ruching collar and coronet. Mary Stuart. Act 1. - Red velvet gown, with full sleeves slashed with white satin; yellow brocade front. Jewelled necklace, tiara of brilliants, and ruff for neck. Act 3. - Wine colored velvet gown, high neck, with full sleeves slashed with old gold satin; underskirt of old gold; and close fitting head-dress of wine colored velvet, trimmed with pearls. Act 5. - Royal blue velvet gown over yellow satin and embroidered front; sleeves slashed with yellow satin. Blue velvet robe with train trimmed with ermine; jewelled belt and cestus; small crown. Hannah Kennedy. Act 1. - Brown cashmere dress, full sleeves to elbow and tight fitting to wrist; linen collar and cuffs with lace edge. Act 3. - Wine colored cloth dress, pointed waist; skirt draped over black underskirt; sleeves puffed with white at shoulder; close fitting black velvet cap. Act 5. - Black cashmere dress, very full skirt; puffed sleeves and high neck; ruching collar, and linen cuffs with lace edge. Margaret Curl. Act 5. - Black velvet gown, low neck and pointed waist, with full sleeves slashed with purple satin; underskirt of purple satin; ruff for neck; pearl ornaments. Robert Dudley, Earl of Leicester. Act 2. - Dark blue velvet doublet, embroidered with gold; light blue satin sleeves, puffed at shoulders; short puffed trunks of dark blue velvet, with light blue satin puffs; short shoulder cloak; conical shape hat and plume; tights, shoes and rosettes, ruff for neck. Act 3. - Leather jerkin, with green velvet puffed sleeves; full trunks, tights, high russet boots, shoulder cloak, hat and plume, sword and belt. Act 4. - Wine colored velvet doublet trimmed with gilt lace, and old gold satin puffs in sleeves; cloak, and short puffed trunks of same; tights, shoes and rosettes; jewelled collar. Act 5. - Black velvet doublet trimmed with jet, and black satin puffs. Cloak and short puffed trunks of same; tights, shoes and rosettes. George Talbot, Earl of Shrewsbury. Act 2. - Yellow brocade doublet with white satin puffs, and trimmed with gold. Cloak, and short puffed trunks of same. Tights, shoes, rosettes and ruff. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.

Customer Reviews

3 ratings

What to do?

Friedrich Schiller wrote this drama about the power struggle between Elizabeth of England and Mary of Scotland after he finished the Wallenstein trilogy, his Thirty Years War drama. He finished MS in 1800 and it had a triumphant stage premiere shortly afterwards, in Weimar. Schiller was by now `over' his Sturm und Drang period and had become a co-leader of classicism, teaming up with Goethe. He said of this play that he had had enough of war and heroes and soldiers, he was looking more for passionate humanity than for history. Consequently he wrote a credible drama about semi-fictional characters. As long as you don't confuse this with historiography, the method is fine with me. The drama focuses on Mary's last 3 days, beginning with her verdict in the first of five acts. Mary does not recognize the authority of the court. She sees herself as a state guest, the legitimate queen of another country who had come to England asking for shelter. She had fled Scotland after her own murderous activities had made her unsafe there. In England she had been put in jail, now since 19 years. Her imprisonment is motivated by the fact that she would have been able to claim a possibly better right to England's throne than the current job holder. In other words, Elizabeth has reasons to fear her, especially in view of her Catholic backing in France and Spain. Apart from that personal motive, Elizabeth has the pressure from her court that fears a return to a Catholic ruler. On the other hand there may be benefits in a milder rule. Mary's state of mind in captivity is ambivalent: she resents the treatment that she is given, hopes to be able to talk to Elizabeth and reach an understanding, but at the same time she is haunted by her own conscience about her past murder of her husband at home. The trial against her is however about something else. She is accused of having tried to conspire with England's enemies to usurp the throne. Mary feels innocent in that respect and even her captors are aware that the trial itself was not following proper procedure. Schiller weaves a conspiracy of an attempted jail break involving some double-dealing noblemen. But the true high point of the play is a personal confrontation between the two lionesses. Pride, jealousy, fear, humiliation come into play. Mary wins the battle and loses the war. Elizabeth had been of a split mind, but Mary's aggressive and offensive behavior towards her leaves her no choice. Still she tries to escape direct personal responsibility for ordering an execution - in vain. The plot in Schiller's version probably has as many holes as a sieve, historically, but as a human confrontation it works very well. The language has matured since the puerile enthusiasm of some earlier plays. There is also, luckily, no morality tale, no attempt to manipulate the audience to whatever good cause. The play has been staged recently in London, to much acclaim, and traveled to the Broadway from there. Which goes to show t

A Masterpiece

A brilliant psychological drama. Schiller begins with presenting Mary as the epitome of passion and misguided sincerity, with Elizabeth as the epitome of rational calculation and statecraft. With superb plotting, he stages their confrontation to emphasize their common features and with elements of role reversal. The confrontation essentially purifies their original characters, heightening the contrast between passion and calculation. I don't read German but this translation contains a great deal of eloquent language and an appropriately Shakerspearean flavor.

The "Mary, Queen Of Scots" Play Used In "Anne Of Avonlea"

This is the play that was used in the 1987 (?) movie, "Anne of Avonlea." It's really neat!
Copyright © 2025 Thriftbooks.com Terms of Use | Privacy Policy | Do Not Sell/Share My Personal Information | Cookie Policy | Cookie Preferences | Accessibility Statement
ThriftBooks ® and the ThriftBooks ® logo are registered trademarks of Thrift Books Global, LLC
GoDaddy Verified and Secured