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Maria Stuart, described as Schiller's most perfect play, is a finely balanced, inventive account of the last day of the captive Queen of Scotland, caught up in a great contest for the throne of England after the death of Henry VIII and over the question of England's religious confession. Hope for and doubt about Mary's deliverance grow in the first two acts, given to the Scottish and the English queen respectively, reach crisis at the center of the play, where the two queens meet in a famous scene in a castle park, and die away in acts four and five, as the action advances to its inevitable end. The play is at once classical tragedy of great fineness, costume drama of the highest order--a spectacle on the stage--and one of the great moments in the long tradition of classical rhetoric, as Elizabeth's ministers argue for and against execution of a royal prisoner. Flora Kimmich's new translation carefully preserves the spirit of the original: the pathos and passion of Mary in captivity, the high seriousness of Elizabeth's ministers in council, and the robust comedy of that queen's untidy private life. Notes to the text identify the many historical figures who appear in the text, describe the political setting of the action, and draw attention to the structure of the play. Roger Paulin's introduction discusses the many threads of the conflict in Maria Stuart and enriches our understanding of this much-loved, much-produced play. Maria Stuart is the last of a series of five new translations of Schiller's major plays, accompanied by notes to the text and an authoritative introduction.
Mary, Queen of Scots (1542–1587), also known as Mary Stuart or Mary I of Scotland, reigned over Scotland from 14 December 1542 to 24 July 1567. Mary, the only surviving legitimate child of James V of Scotland, was six days old when her father died and she acceded to the throne. She spent most of her childhood in France while Scotland was ruled by regents, and in 1558, she married the Dauphin of France, Francis. He ascended the French throne as King Francis II in 1559, and Mary briefly became queen consort of France, until his death in December 1560. Widowed, Mary returned to Scotland, arriving in Leith on 19 August 1561. Four years later, she married her first cousin, Henry Stuart, Lord Darnley, but their union was unhappy. In February 1567, his residence was destroyed by an explosion, and Darnley was found murdered in the garden. James Hepburn, 4th Earl of Bothwell, was generally believed to have orchestrated Darnley’s death, but he was acquitted of the charge in April 1567, and the following month he married Mary. Following an uprising against the couple, Mary was imprisoned in Lochleven Castle. On 24 July 1567, she was forced to abdicate in favour of James VI, her one-year-old son by Darnley. After an unsuccessful attempt to regain the throne, she fled southwards seeking the protection of her first cousin once removed, Queen Elizabeth I of England. Mary had previously claimed Elizabeth’s throne as her own and was considered the legitimate sovereign of England by many English Catholics, including participants in a rebellion known as the Rising of the North. Perceiving her as a threat, Elizabeth had her confined in various castles and manor houses in the interior of England. After eighteen and a half years in custody, Mary was found guilty of plotting to assassinate Elizabeth in 1586 and was beheaded the following year. “The story has all the emotional savor of a crime passionnel; it is adroitly worked up to a climax of violence and calamity, and it subsides as skillfully to an end of tragic pity... With his talent for simple exposition on a large scale, his sense of drama, his ready flow of emotion, his inventiveness in detail of the moments of his character’s life, his resources of metaphor, parallel and illustration, and his rich psychological adornment of human life, Herr Zweig has no difficulty in reducing his material into its essential drama... whatever Mary’s story, and we shall never know, Zweig’s book has every right to be set down as one of the most brilliant guesses at the truth, and it is an amazing piece of virtuosity to plunge her into the blackest of guilt, and then restore her to our sympathy and pity.” — Peter Munro Jack, The New York Times “Mr. Zweig... is not a historian but... a litterateur practising biography as a branch of letters. The distinction is not derogatory... It... is the clue to the strength and weakness of the book. The litterateur borrows from the craft and exercises some of the liberty of the novelist. He is interested in character and psychology and indulges in imaginative reconstruction more freely than the historian who is forever... haunted by the words, ‘We do not know.’... [Zweig] makes a real person of Mary, a convincing portrait, and there is sympathetic understanding even when he is presenting her as the accomplice of her lover, Bothwell, in the murder of Darnley. Needless to say the style is remarkably easy and readable... [C]riticism would be unjust to the brilliant qualities of Mr. Zweig’s book, and though I hope that all he says will not be taken for gospel truth, I am certain of the pleasure he will give to his readers. There are many descriptive passages to be scored and many sentences that one would give a great deal to have written. The whole book goes with the swing of a novel. The translation is beyond praise.” — J. E. Neale, The Saturday Review
Centering on five Stuart rulers, plus their royal courtiers and tailors, this is the first detailed study of elite men's clothing in 17th-century Scotland.
With its mix of family drama, sex and violence, Britain's Tudor dynasty (1485-1603) has long excited the interest of filmmakers and moviegoers. Since the birth of movie-making technology, the lives and times of kings Henry VII, Henry VIII, and Edward VI and queens Mary I, Jane Grey and Elizabeth I have remained popular cinematic themes. From 1895's The Execution of Mary Stuart to 2011's Anonymous, this comprehensive filmography chronicles every known movie about the Tudor era, including feature films; made-for-television films, mini-series, and series; documentaries; animated films; and shorts. From royal biographies to period pieces to modern movies with flashbacks or time travel, this work reveals how these films both convey the attitudes of Tudor times and reflect the era in which they were made.
New essays by top international Schiller scholars on the reception of the great German writer and dramatist, emphasizing his realist aspects. The works of Friedrich Schiller (1759-1805) -- an innovative and resonant tragedian and an important poet, essayist, historian, and aesthetic theorist -- are among the best known of German and world literature. Schiller's explosive original artistry and feel for timely and enduring personal tragedy embedded in timeless sociohistorical conflicts remain the topic of lively academic debate. The essays in this volume address the many flashpoints and canonicalshifts in the cyclically polarized reception of Schiller and his works, in pursuit of historical and contemporary answers to Samuel Taylor Coleridge's expression of frightened admiration in 1794: "Who is this Schiller?" The responses demonstrate pronounced shifts from widespread twentieth-century understandings of Schiller: the overwhelming emphasis here is on Schiller the cosmopolitan realist, and little or no trace is left of the ultimately untenable view of Schiller as an abstract idealist who turned his back on politics. Contributors: Ehrhard Bahr, Matthew Bell, Frederick Burwick, Jennifer Driscoll Colosimo, Bernd Fischer, Gail K. Hart, Fritz Heuer, Hans H. Hiebel, Jeffrey L. High, Walter Hinderer, Paul E. Kerry, Erik B. Knoedler, Elisabeth Krimmer, Maria del Rosario Acosta López, Laura Anna Macor, Dennis F. Mahoney, Nicholas Martin, John A. McCarthy, Yvonne Nilges, Norbert Oellers, Peter Pabisch, David Pugh, T. J. Reed, Wolfgang Riedel, Jörg Robert, Ritchie Robertson, Jeffrey L. Sammons, Henrik Sponsel. Jeffrey L. High is Associate Professor of German Studies at California State University Long Beach, Nicholas Martin is Reader in European Intellectual History at the University of Birmingham, and Norbert Oellers is Professor Emeritus of German Literature at the University of Bonn.
"This book takes you through the collection gallery by gallery, illuminating the art and installations in each room"--From preface.
In 1649, Charles I was executed before Whitehall Palace in London. This event had a major impact not only in the British Isles, but also on the continent, where British exiles, diplomats and agents waged propaganda battles to conquer the minds of foreign audiences. In the Dutch Republic, above all, their efforts had a significant impact on public opinion, and succeeded in triggering violent debate. This is the first book-length study devoted to the continental backlash of the English Civil Wars. Interdisciplinary in scope and drawing on a wide range of sources, from pamphlets to paintings, Helmer Helmers shows how the royalist cause managed to triumph in one of the most unlikely places in early modern Europe. In doing so, Helmers transforms our understanding of both British and Dutch political culture, and provides new contexts for major literary works by Milton, Marvell, Huygens, and many others.