PT 2468 D9L71 fflomell Uttivmitg piVaii THE GIFT OF ..Pj\iU5JJcWvA %^'..^. .^.(SajJJVvvUXM.. .KZ5.Zi.%5. lljlEiii The f^ Carlos TngME Xke JpurnaJ.' of Evij|^ii^ai]^^..Q«r manic Pliirdlogjr Cornell University Library The original of this book is in the Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/cletails/cu31924026307276 The Don Carlos Theme in Literature -483 THE DON CAELOS THEME IN LITEEATUEE. Don Carlos, son of Philip II of Spain and his first wife, Mary of Portugal, was bom in 1545. During the prince's youth, the advisability of a match with Elizabeth of Valois, daughter of Henry of France, was "discussed, but no formal engagement was ever annoxmced. After the death of Philip's second wife, Mary of England in 1558, the king himself mar- ried Elizabeth of Valois. In St. E6al's account of Don Carlos, the prince is represented as a love-sick youth who broods over the loss of a bride — ^now his own step-mother. Carlos's love for the queen, the king's jealousy and suspicions, the arrest, im- prisonment, and death of the prince at the age of twenty-three, have offered a rich field for literary, and particularly dramatic, treatment. The Don Carlos theme has been a favorite one in the lit- eratures of Spain, France, Germany, and England. In the following pages the attempt wUl be made to give as complete a list as possible of the various treatments of the theme. Purely historical works have been excluded; two so-called historical ac- counts, those by Brantome and St. ;&eal, have been included for the reason that they contain as much fiction as truth. It has been difficult, also, to draw a sharp distinction between original treatments and adaptations; at the end of the list, therefore, I have indicated briefly the works which may be classed immis- takably as adaptations. Translations have been given in a sepa- rate list. 1. Pierre de Bourdeille, abbe de Brantome, Vies des Grands Capitains (especially the articles Philippe II, Roy d'Espaigne and Don Carlos), also Vies des Dames Illustres (particularly the article Elizabeth de France, Reyne d'Espaigne) . Brantome lived 1540-1614. The first edition of his works appeared in nine voliomes at Leyden in 1665-66 ; other editions appeared at the Hague in 1740, at London and Maestricht in '^ 484 Lieder 1779, at Paris in 1787, at Bastien in 1790. Brantome I ex- clude from the purely historical works for two reasons: he gives the hearsay reports believed at the end of the sixteenth century about Don Carlos's death, and he is one of the prin- cipal sources for St. Real's curious work. 2. Don Diego Ximenez de Bnciso, El Principe Don Carlos. Enciso was bom in 1585 ; his activities were probably over by 1635. His drama is based on Cabrera's Historia de Felipe Segundo, Bey de Espana (1619), and was probably written soon after the apearance of Cabrera's book. Enciso's "licencia" is dated April, 1633; the play was first printed in Comedias de Varios Autores, Huesca, 1634, vol. 28. Much confusion and mis- understanding have prevailed about Enciso's play. Tieknor* II, 319, attributed it to Montalvan, and this error appears in the catalogue of the Ticknor collection at the Boston Public Li- brary. Schwiir mentions a later version of El Principe Don Carlos in which the last scenes are different from those of the first version. Schaeffer's" Grerman translation of the play is based mainly on this second version. Crawford,* finally, has unravelled the mystery by showing that the second version is really the work of Canizares. The earliest edition in a "suelta" (Valencia, 1773) is based on a manuscript identified by Craw- ford. In a discussion of Enciso's play, therefore, these points should be observed : it should not be confused with Montalvan'a El Segundo Seneca de Espana y Principe Don Carlos, nor with Canizares's version of El Principe Don Carlos. Enciso's play is of extreme interest because, although one of the earliest treatments of the theme, it adheres more closely ' George Ticknor, History of Spanish Literature, Boston, 1863. ' Rudolph Schwill, The Comedias of Diego Ximenez de Encisco. (Pub. of the Mod. Lang. Assoc, of America, XVIII, (1903), pp. 194- 210). ' Ximenez de Enciao, Der Prinz Don Carlos. Die grosste That des Kaisers Karl V. Zwei Dramen aus dem Spanischen in funi- fiissigen lamben iibertragen von A. Sehaeffer. pp. 279. Leipzig, 1887. (Cf. the remarks under Canizares). * J. P. W. Crawford, El Principe Don Carlos of Ximenez de Enoiso (Modern Language Notes, Dec. 1907, pp. 238-241). The Don Carlos Theme in Literature 485 to historical facts than most of the succeeding dramas. A clear summary of Carlos's character is given by Schack,' II, 536 : "Der Prinz erscheint — sehr verschieden von dem D. Carlos, den die traumende Phantasie der neueren Zeit erschafEen hat, aber gewiss in mehr Ueberetnstimmung mit den historischen Zeug- nissen — als ein launenhafter und iibermiithiger Wiistling, als ein Tyrann aller seiner Untergebenen, dessen Tod vor dem Eegierungsantritt ein wahres Gliick fiir Spanien sei. In der Dar- stellung seines ausgelassenen Treibens sind viele einzelne, of- fenbar durch Tradition iiberlieferte, Anekdoten und Ziige aus seinem Leben benutzt, aus denen der Geschichtsschreiber ein neues und interessantes Licht iiber letzteres verbreiten konnte.'' 3. Juan Perez de Montalvan, El Segundo Seneca de Es- pana y Principe Don Carlos. Appeared in Para Todos (1632). Montalvan lived 1602-1638. Cabrera's history was un- doubtedly one source and Enciso's play possibly another. Ac- counts of Montalvan and his work may be found in Ticknor, II, 319; Schack, II, 551; Schwill, 199, 205; and in Bacon's mon- ograph." Ticknor's account of Montalvan is unnecessarily flat- tering for the reason that he attributed Enciso's play to Montal- van. Schack's account is also misleading; the hero of Montal- van's No hay vida como la honra is a Don Carlos, but Schack does not point out that this is not the historical personage but a Don Carlos Osario of Valencia. Schack regards Montalvan's El Segundo Seneca as far inferior to Enciso's El Principe Don Carlos, although both plays follow closely the historical facts. 4. Cesar Viehard Saint-Eeal, Don Carlos, nouvelle histori- que. Paris, 1672. This work apeared also at Amsterdam in 1673, at the Hague in 1722 and 1724, and at Amsterdam in 1740. It may be found in Librairie de la Bibl. nationale (No. 28), Paris, 1884. A German translation appeared at Riga in 1767 (Minor, Schil- ' Adolph Fr. von Schack, Oeschichte der dramatischen Literatur und Kunst in Spcmien, Berlin, 1845. ' G. W. Bacon, An Essay upon the Life and Dramatic Works of Dr. Juan Perez de Montalban, Philadelphia, 1903. 486 Lieder ler, II, 622), another at Eisenach in 1784 (practically reprinted in Boxberger's edition of Don Carlos in the series "Deutsche National Literatur"), another by J. L. Schmidt in Wonns in 1828, and one by H. Hersch (Eeclam series, No. 3013) in 1885. St. Eeal lived from 1639-1692. His story of Don Car- los is a curious mixture of fact and fancy. He emphasizes par- ticularly Carlos's love for Elizabeth of Valois — formerly the prince's betrothed, now his father's wife. This element in St. Eeal's tale attracted the attention of later dramatists — espec- ially Otway, Campistron, Alfieri, Mercier, and Schiller — ^who, in turn, inspired numerous other writers. St. Real's story may be regarded as the most important source for the various treat- ments of the Don Carlos theme. It was quickly translated into English under the title: Don Carlos, written in French, anno 1672, and newly Englished by H. J., London, 1676. This trans- lation was probably known to Otway, who was the first dram- atist to write a Don Carlos drama with St. Eeal's tale as a basis. In the Collection of Novels translated into English "hj eminent hands," published by Samuel Croxall, London, 1729 (6 vols.), the translation of St. Eeal appears in vol. Ill, pp. 5-73. 5. Thomas Otway, Don Carlos, Prince of Spain. A tragedy. London, 1676. The play was written in rhymed iambic pentameter (heroic couplet), and reminds one of Shakespeare, particularly of Othello. It is based mainly on St. Eeal; a German transla- tion of Otway may possibly have been known to Schiller. The success of Otway's play was striking. The Biographica Dra- matica (ed. 1812) gives interesting citations from a letter of Mr. Booth to Aaron Hill, from Dr. Johnson, and from Eochester's Trial of the Poets for the Bays. Goedeke, Grundriss, V, 2, § 253, 11 cites two works which are translated from or based on Otway. (a). Casp. Wihl. v. Borck, Don Carlos, Prince von Span- ten. Trsp. des Herm Thomas Otway, a.d. Eng. iibers. (in Neiie Erweiterungen des Erleenntniss und Vergniigens. Bd. 9. Frkf. u. Lpz. 1757. S. 175-275). (b). Johann Gottfried Dyk, Don Carlos und Elizabetli. The Don Carlos Theme in Literature 487 Trauerspiel ir70. Cf. Aim. d. dtsch. Mm. 1771, 99; Goedeke, § 226, No. 36. I have been unable to ascertain whether Dyk's version is a translation or an adaptation of Otway. In connection with Schiller's play, cf. Jacob Lowenberg, Ueler Otway's und Schiller's Don Ga/rlos. Dissertation. Lipp- stadt, 1886. 6. Daniel Casper von Lohenstein. A so-called "Helden- brief" on Philip and Eboli. Breslau, 1680 ( ?). Lohenstein's Trauer- und Lustgedichte and his Sdmtliche Gedichte both appeared in 1680. I have been unable to find an edition of Lohenstein's poems, and have therefore been unable to identify the above Heldenbrief. Max Freiherr von Wald- berg. Die galante Lyrih, Strassburg, 1885, gives to HofEmanns- waldau the credit of having introduced into German literature the so-called Heldenbrief, and states that Lohenstein and Men- cke viTote Heldenbriefe on the Don Carlos theme. Minor's statement (II, 624) : "HofEmannswaldau nennt Carlos und Elizabeth" is probably an oversight. Hoflmennswaldau wrote no Heldenbrief on the Carlos theme. 7. Jean Galbert de Campistron, Andronic, Paris, 1685. Cf. also "Ouevres de Monsieur de Campistron," Amsterdam, 1722, vol. 1. In Campistron's drama of five acts in rhymed Alexandrines the scene is shifted from Spain to Byzantium. The Emperor Colojean Paleologue corresponds to Philip II, his wife Irene to Elizabeth of Valois, his son Andronic to Don Carlos, his ministers Leon and Marcene to Alba and Domingo; Martian, a confidant of Andronic, is the counterpart of Posa. The action hinges on Andronic's love for Irene and his desire to concil- iate the Bulgars (who correspond to the Wetherlanders in other plays). As in St. Keal's account, the prince is placed under arrest by his father, and dies by cutting his veins wMle in the bath. The Empress takes poison; the Emperor is overcome with grief. In the Campistron drama we find no Eboli-Carlos, Eboli-Don Juan, or Eboli-Philip elements. Attempts have been made to show that Schiller must have 488 Lieder known Campistron's drama, and must have followed it in some points. Schiller's deviations from St. Real's work have been explained by lines in Campistron's play. Schiller's Posa has been depicted as a combination of St. Eeal's Posa and various characters from Campistron (Martian, Leonce, Egmont, de Bergh, Montigny, etc.). Cf. particularly H. J. Heller, Die Quellen des SdMllerschen Don Carlos {Archiv fur das Stud. d. neueren Spr. und Lit., XXV, Heft 1 & 3, pp. 55-109, 1859) ; Curt Hausding, Jean Galhert de Campistron in seiner Bedeut- ung als Dramatiker fUr das Theater Franhreichs und des Aus- lands. Dissertation. Leipzig, 1903. In spite of Heller's ia- genious arguments and citations, one is not convinced that Campistron had even the slightest influence on Schiller. 8. Johann Burkhard Mencke (nom de plume Philander van der Linde). Heldenbriefe on Don Carlos and Elizabeth of Valois. Written 1693 (?), published 1705 (?). Mencke lived 1674-1732. Waldberg, Die galante Lyrik, p. 133, says : "Mencke behandelte auch den StofE von Don Car- los und Isabella"; Koberstein, Gesch. der deut. Nat. Lit. (ed. Bartsch), Leipzig, 1872, II, 213, note 15: "Friiher da er [Mencke] noch zu sehr 'in HofEmannswaldau's Gleichnisse ver- liebt war' hatte er sich diesen, namentlich in seinen meist im 18. Jahre verfertigten Heldenbriefen, die im ersten Theile [der Gedichte] stehen, zum Vorbild genommen." This would make the date of composition about 1693, and the publication probably in the Galante Gedichte, Leipzig, 1705. The Columbia Uni- versity Library has an edition of 1723. Under the title "Held- enbriefe" we find the heading Liebe zwischen Carl dem Infan- ten von Spanien und seiner Stiefmutter Isabella. A prose in- troduction of a page tells of Carlos's imprisonment and the Queen's death from poison. The source followed is undoubt- edly St. Eeal. Then come two letters, the first Isabella an ihren Stieff-Sohn Carl Infanten von Spanien (72 lines), the second Carl an seine Stieff-Mutter Isabella Konigin von Span- ien (68 lines). The verse is rhymed Alexandrine with the The Don Carlos Theme in Literature 489 rhyme sceme abahcdcd, in which a and c are feminine, b and d masculine. 9. Jose de Canizares, El Principe Don Carlos. Written about 1700, published at Valencia in 1773. Canizares lived in 1676-1750. Two supposed versions of Bneiso's drama have given rise to much confusion. The later ver- sion is the one Schaeffer followed in translating Enciso's plays. Crawford has shown that the later version is really by Cani- zares. Cf. the remarks under Enciso. 10. Vittorio Alfieri, Filippo II, (first version in French 1774, in Italian 1776), published at Siena, 1783. Alfieri, one of the most famous Italiaai writers of tragedy, lived 1749-1803. His Filippo is based on St. Keal's story. Al- fieri's picture of Philip II is one of horror, of cruelty, of impla- cable revenge. In the words of Carlyle: "Alfieri's Filippo is perhaps the most wicked man that human imagination has con- ceived." Next to Schiller's, Alfieri's drama is probably the most noteworthy treatment of the Carlos theme. A comparison of Schiller and Alfieri is, therefore, of value. No one has summar- ised the methods of the two men more successfully than Car- lyle in his Life of Friederich Schiller, London, 1835, p. 123. "The mind of one is like the ocean, beautiful in its strength, smiling in the radiance of summer, and washing luxuriant and romantic shores; that of the other is like some black unfathom- able lake placed far amid the melancholy mountains j bleak, solitary, desolate; but girdled with grim sky-piercing clifEs, overshadowed with storms, and illuminated only by the red glare of the lightning. Schiller is magnificent in his expansion, Al- fieri is overpowering in his condensed energy; the first inspires us with the greater admiration, the last with the greater awe." A conveniently accessible German translation of Alfieri's drama by Adolf Seubert is published in the Eeclam series (No. 874). An English translation may be found in Charles Lloyd, The Tragedies of Vittorio Alfieri, London, 1815. 11. Alessandro Pepoli, La gelosia snaturata o sia D. Carlo, infante di Spagna; tragedia. Con tre lettere sopra le quattro 490 Lieder prime tragedie del Conte Alfieri, la prima della quali e la pro- posta del Conte Pepoli al sig. Eaineri de' Calsabigi, la seconda e la risposta del suddetto, e I'liltima la contra rispofita del primo coir offeri;a della presente tragedia. Napoli, 1784. A copy of the play is in the Harvard University Library. 13. LoTiis-Sebastien Mercier, Portrait de Philippe second, Paris, 1785. Mercier's introduction {Precis Jiistorique) was translated by Schiller, published in the Thalia (Heft II, 1786, pp. 71-104) in connection with the earliest version of the first three acts of Don Carlos, and is reprinted in Goedeke's edition of Schiller's works. Mercier's work is based on St. Eeal. As in Alfleri's drama, Philip is represented as a monster. Cf. Oskar Zollinger, Louis-Seia- stien Mercier's Beziehungen zur deutscken Litteratur. {Zts. f. franz. Spr. und Lit., XXV, pp. 87-121, Berlin, 1903.) Mer- cier's influence on Schiller is negligible. 13. Der unglucTcliche Don Carlos, eine wahre Geschichte zur Warnung fur Hoflinge. Kach dem franzosisdien frei bear- beitet. Leipzig und Wien, 1786, 171S. Other editions 1787, 1795. Cf. August Hettler, Schiller's Dramen. Eine Bibliogr-aphie. Beriin, 1885 ; Goedeke, Gmndriss, V, 2, § 253, 11. 14. Friedrich Schiller, Don Earlos, Infant von Spanien. Ein dramatisches Gedicht. Leipzig, 1787. Other editions appeared in 1799, 1801, 1802, 1804, 1805. The earliest version of the first three acts was printed in the Thalia in 1785-87. The Thalia version which stopped at the end of Act III, Sc. 9 contained 4140 lines; the first complete version of 1787 had 6282 lines; the version of 1801 had 5448; that of 1805, the basis of later reprints, had 5370. Schiller's Don Karlos has been translated into English more often than any other drama of Schiller except Wilhelm Tell. 15. Dom Earlos, Infant von Spanien. Trauerspiel in 5 Auf- ziigen von B — 1 und B — r. 1790. This is probably an adaptation of Schiller's drama. Cf. the catalogue of the British Museum. The Don Carlos Theme in Literature 491 16. Dom Earlos Leben wnd Ende nach der wahren Ges- chichte. Wien, 1795. Cf. Goedeke as above. 17. Geschichte des Spanischen Infanten Don Carlos. Mit dem Portrait desselben von Lips gestochen. Hof, 1795. Cf. Goedeke as above. 18. William Dunlap, Don Carlos. A translation from Schil- ler's drama of the same name. Played at the Park Theatre, New York, May 6, 1799. Dunlap lived 1766-1839. He wrote a number of plays and adapted many others for the stage. Of his plays thirty are in print, thirty-six in manuscript ; among the latter is Don Carlos which is an adaptation rather than a translation. Cf. Oscar Wegelin, Ea/rly American Plays 17U-18S0, New York, 1900; Joseph N. Ireland, Records of the New York Stage from 1750- 1860, 2 vols., Few York, 1866-7. Dunlap's Don Carlos is of the greatest interest. It was per- formed once — the only time that Don Carlos was produced in English, either in England or America, from the publication of Schiller's play in 1787 until the performance of Mansfield's version in 1905. Ireland, I, 185, gives the following notice: "May 6th [1799]. First time, Dunlap's adaptation of Schiller's Don Carlos; Philip II Mr. Fennell Don Carlos Mr. Cooper Marquis Posa Mr. Martin Duke of Alva Mr. Hallam, Jr. Count Lerma Mr. Tyler Duke of Feria Mr. Miller Dominick Mr. Hogg Prior Mr. Perkins Princess of Eboli Miss E. Westray Duchess Mrs. Hogg Marchioness Miss White Elizabeth Mrs. Barrett The play was a failure and never repeated." 492 Lieder 19. J. W. Eose, Carlos und Elizabeth. Trauerspiel in fiinf Akten. Leipzig, 1802. 20. M. Westermann. A Dutch adaptation of SchUler's drama. 1802. Cf. Goedeke § 253, 9a. 21. Manuel Jose Quintana, El Panteon de Escorial. A poem dated April, 1805. Quintana lived 1772-1857. The above poem contains about 300 lines and consists of a series of comments on past events by various historical characters — ^Don Carlos, Isabel de Valois, Philip II, Philip III, Philip IV, Charles II, and the Emperor Charles V. This interesting poem may be found on p. 35 of the volume on Quintana in the Biblioteca Autores Espanoles, Madrid, 1852. 22. Lord Byron, Parisina. Dedication dated Jan. 22, 1816. This poem has 586 lines written mainly in iambic tetrameter. In the advertisement Byron says: "The following poem in grounded on a circumstance mentioned in Gibbon's 'Antiqui- ties of the House of Brunswick.' I am aware, that in modem times, the delicacy or fastidiousness of the reader may deem such subjects unfit for the purposes of poetry. The Greek dramatists, and some of the best of our English writers, were of a different opinion: as Alfieri and Schiller have also been, more recently on the Continent. The following extract will explain the facts on which the story is founded. The name Azo is substituted for Nicholas, as more metrical. [B]. "Under the reign of Nicholas III [A. D. 1425] Ferrara was polluted with a domestic tragedy. By the testimony of a maid, and his own observation, the Marquis of Este discovered the incestuous loves of his wife Parisina, and Hugo his bastard son, a beautiful and valiant youth. They were beheaded in the castle by the sentence of the father and husband, who pub- lished his shame, and survived their execution. He was un- fortunate, if they were guilty; if they were innocent, he was still more unfortunate; nor is there any possible situation in which I can sincerely approve the last act of the justice of a The Don Carlos Theme in Literature 493 parent"— Gibbon's Miscellaneous Worlcs, III, 470. [Ed. 1837, p. 830]. It is clear that Byron had Schiller's Don Karlos in mind. In the first place, Byron mentions Schiller in his introdnction ; secondly, in Byron's poem (as in Schiller's drama) only the son is punished and the step-mother is allowed to shift for herself; thirdly, in Byron's poem (as in Schiller) the son maintains that the step-mother was originally intended for him. Cf. 11. 253-256: Tis true that I have done thee wrong — But wrong for wrong: — ^this, — deemed thy bride The other victim of thy pride, — Thou know'st for me was destined long; Thou saw'st and coveted' st her charms; 23. Marie Joseph Chenier, Philippe II, tragedie en cinq actes. 1818. 24. Don Ca/rlos. Translated and altered from the German of Schiller and adapted for the English stage by Simon Sabba. Paris, 1821. 25. Lord John Eussel, Don Carlos, London, 1822. The various editions of Eussel's drama may be found in the Ticknor collection at the Boston Public Library. Henry Mor- ley in his collection Schiller's Poems and Plays, London, 1889, included Lord Eussel's Don Carlos which he seems to have re- garded as a translation of Schiller's drama. 26. An English adaptation of Schiller's drama by an anony- mous writer, London, 1822. In the preface the author states that he had to retrench one half, leave out the underplot, make many changes, and compose an entirely new catastrophe. Thomas Eea, Schiller's Dramas and Poems in England, London, 1906, puts this adaptation in the list of translations, although on p. 42 he characterises it as an adaptation. 27. Friedrich de la Motte Pouque, Don Carlos, Infant von Spanien. Ein Trauerspiel. Mit einer Zueignung an Fr. von Schiller. Danzig, 1823. 494 Lieder 38. Alexandre Soumet, Elizabeth de France, trag^die de cinq actes et en vers. Paris, 1827. Cf . Goethe's Eunst und AUertum 6, 2, 391 ; Goedeke, V, 2, § 253, 11. 29. M. Costa, Don Carlos. An opera produced in London in 1844. 30. E. M. Gorman, Philippe II, Boi d'Espagne, drame en eiaq actes imite de Schiller et precede de I'Btudiant d'Alcala. Paris, 1848. 31. Don Karlos, der Infanterist von Spamien, oder das kommt davon, wenn man seine Schwiegermutter liebt. Ber- lin, 1852. Cf. Goedeke, V, 2, § 253, 11. 32. Amedee de la Eoiosseliere, Don Carlos. Tragedie en cinq actes et en vers imitee de Schiller. Liege 1855. The drama is written in Alexandrines. 33. Vincenzo Moscnzza, Don Carlos. An opera performed in Naples in 1862. 34. G. Verdi, Don Carlos. An opera in five acts on a text by Mery and Camille du Loche. Performed in Paris in 1867, and, after a revision of the text by Boito, in Vienna in 1884. Cf. Goedeke, V, 2, § 253, 11. 35. Nunez de Arce, El Eaz de Lena. First performed in 1872. The text has been edited for English-speaking students by Eudolph Schwill, D. C. Heath & Co., Boston, 1903. Sehwill states that Nunez de Area's work has been called the most dignified Spanish play of the whole nineteenth century. Nunez de Arce, like Enciso and Montalvan, adheres more closely to historical facts than most other writers on the Carlos theme. In El Haz de Lena a simple girl, Catalina, is in love with Carlos; the love of Carlos for his step-mother, Elizabeth of Valois — an element which is all-important in Schiller's drama — is not dwelt upon by Nunez de Arce. His play, however, is forceful and thoroughly dramatic. 36. Don Karlos. Trauerspiel in fiinf Akten von Schiller. The Don Carlos Theme in Literature 495 Mit Benutzung der alteren Ausgaben fiir die Auffuhmng ein- geriehtet von Eugen Kilian. BuhnenauBgabe. Leipzig. Druck und Verlag von Philip Eeclam jun. [1904]. No. 4569 ia the series. The version of Eallian was first performed at Karlsruhe Jan. 8, 1903. 37. Eichard Mansfield, An acting version of Schiller's Don, Carlos based upon E. D. Boylan's English translation. The preliminary performance of the play was given at the Valen- tine Theatre, Toledo, Ohio, Oct. 37, 1905. It was a part of Mansfield's repertoire throughout the season 1905-1906. Cf. Paul Wilstach, Richard Mansfield the Man and Actor, New York, 1908, pp. 435-37. Of the thirty-seven works in the foregoing list, the follow- ing may be regarded as adaptations of Schiller's drama rather than as original treatments. German: B — ^1 and B — r, 1790; Kilian, 1904; Dutch: Westermann, 1803 (Hettler regards it as a translation) ; French: Gorman, 1848; Eousseli^re, 1885; Eng- lish: Dunlap, 1799; Sabba, 1821; Mansfield, 1905. Only a few of the various works on the Carlos theme have had translations that deserve special notice. In the following list I have arranged the translations of the works by Bnciso (i. e. Canizares), St. Eeal, Otway, Alfieii, Mercier, and Schiller. TEANSLATIONS. Of Enciso's El Principe Don Carlos. German: A. SchaefEer, Leipzig, 1887. (Cf. the remarks under the paragraphs on Bnciso). Of St. Eeal's Don Carlos, nouvelle historiqvs. German : (?), Eiga, 1767. (?), Eisenach, 1784. J. L. Schmidt, Worms, 1838. H. Hersch, Leipzig, 1885. English : H. J., London, 1676. (?), London, 1729. 496 Lieder Of Otway's Don Carlos, Prince of Spain. German : C. W, V. Borck, Frankfurt t& Leipzig, 1757. J. G. Dyk, 1770. (Cf. the remarks under 5. Otway). Of Canizares's El Principe Bon Carlos. German : A. SchaefEer, Leipzig, 1887. ( Cf . the remarks under the paragraphs under Enciso and Canizares) . Of Alfieri's Filippo II. German: Adolf Seubert, Leipzig (Reclam). English : Charles Lloyd, London, 1815. Of Mercier's Portrait de Philippe second. German: Fr. Schiller, in the Thalia, 1786. (Only the introduc- tion translated). Of Schiller's Don Earlos. English : (?), 1795. (Mentioned in the Biographica Bramatica, but difficult to identify). [G. H. Noehden & J. Stoddart], London, 1798. [Symonds?], London, 1798. B. Thompson, London, 1801. G. H. Calvert, Baltimore, 1834. J. W. Bruce, Mannheim, 1837. J. Toiler, Karlsruhe, 1843. C. H. Cottrell, London, 1843. E. D. Boylan, London, 1847. T. Si. Egan, London, 1867. A. Wood, Edinburgh, 1873. French : Adrien Lezay-Marnesia, Paris, 1799. Ad. TJttner, Strassburg, 1848. The Don Carlos Theme in Literature 497 A. Brun, Paris, 1860. [Cf. the British Museum Cata- logue] . Dutch : [E. M. Post], Amsterdam, 1789. [Cf. the British Mus- eum Catalogue]. ( ?), Amsterdam, 1799. [Cf. Goedeke]. Danish : C. Molbech, Copenhagen, 1831. [Cf. Hettler]. Eussian : M. Lichonin, Moskau, 1838, 1833, 1857. Polish': Jozef Paszkowski, Warsau, 1843. (Extracts from Bon Carlos in the Biblioteka WarszawsTca, III, 135.) M. Budzynski, Leipzig, 1844. (Contained in vol. 8 of his translated dramas. A second issue edited by J. N. Bobrowicz, Leipzig, 1850; another edition, Brussels, 1863. Goedeke cites Bobrowicz as the translator). W. Tomasze-nacz, Levow, 1857. {Rocznih Teatru IwowsJciego, na rok, 1858). Hungarian : E. Kovacs Gy, 1875. [Cf. the British Museum Cata- logue] . Italian : Pompeo Ferrario, Milan, 1819. Andrea Mafei, Milan, 1843. Spanish : D. C. D., 1881. [Cf. the British Museum Catalogue]. Jose Yxart, Barcelona, 1883. Much remains to be done in making a complete study of the Don Carlos theme in literature. In the list of treatments we find every variety of form — tragedy and comedy, novel, histor- ical sketch, dramatic and dialogue poem, "Heldenbrief," and opera. We find Philip II treated as a judicious monarch by the Spanish dramatists, and as a monster by the Italian Alfieri and 'For help in verifying the Polish titles I am indebted to Professor Leo Wiener of Harvard University. 498 Lieder the Frenchman Mercier. Carlos, likewise, appears in the Span- ish dramas as a half-demented, sentimental, and irresponsible youth, in Schiller and other dramas as an idealistic lover and a cosmopolitan dreamer. The role of Posa has mmierous var- iations, so also the roles of Alba and Domingo. Finally, the parts played in the love-intrigues by the Princess Eboli and particularly by the Queen, Elizabeth of Valois, give abundant opportunity for studies in the development of characters. A careful study of the Don Carlos theme on the analogy of Karl Kipka's' thorough investigation of the Mary Stuart theme would be well worth while. Frederick W. C. Liedee. Harvard University. 'Karl Kipka, Maria Stuart im Drama der Weltliteratv/r vornehm- lioh des 17. und 18. Jahrhunderts. Leipzig, 1907. [Kipka enumer ates more than 200 treatments of the theme]. DATE DUE 1 t-^ -S-=8t^ iO ocaNK mm 1; CAVLORO HMSJ-MS'f PRINTEDINU 5. A. PT 2468.D9L71"'""'"""' ""'"^ MllMiii&IteL/" literature.