Schiller's "Maria Stuart" at Newman University

My sister and I went to an adaptation of Friedrich Schiller's romantic play, Maria Stuart (the source for Donizetti's opera) at Newman University Saturday night, March 5th. They used the title Mary, Queen of Scots. The director, Mark Manette, used the translation of Schiller's play by Joseph Melish, which includes this poignant scene of Mary, finally being comforted by a priest before her execution:

MARY. 

Melvil! Oh, yes, I understand you, Melvil! 

Here is no priest, no church, no sacrament; 

But the Redeemer says, "When two or three 

Are in my name assembled, I am with them," 

What consecrates the priest? Say, what ordains him 

To be the Lord's interpreter? a heart 

Devoid of guile, and a reproachless conduct. 

Well, then, though unordained, be you my priest; 

To you will I confide my last confession, 

And take my absolution from your lips. 

MELVIL.

 If then thy heart be with such zeal inflamed, 

I tell thee that for thine especial comfort, 

The Lord may work a miracle. 

Thou say'st Here is no priest, no church, no sacrament— 

Thou err'st—here is a priest—here is a God; 

A God descends to thee in real presence. 

[At these words he uncovers his head, and shows a host in a golden vessel.] 

I am a priest—to hear thy last confession, 

And to announce to thee the peace of God 

Upon thy way to death. I have received 

Upon my head the seven consecrations. 

I bring thee, from his Holiness, this host, 

Which, for thy use, himself has deigned to bless. 

MARY. 

Is then a heavenly happiness prepared 

To cheer me on the very verge of death? 

As an immortal one on golden clouds 

Descends, as once the angel from on high, 

Delivered the apostle from his fetters:— 

He scorns all bars, he scorns the soldier's sword, 

He steps undaunted through the bolted portals, 

And fills the dungeon with his native glory; 

Thus here the messenger of heaven appears 

When every earthly champion had deceived me. 

And you, my servant once, are now the servant 

Of the Most High, and his immortal Word! 

As before me your knees were wont to bend, 

Before you humbled, now I kiss the dust.

And she makes her Confession, not mentioning any involvement in the plots to kidnap, depose, or murder Elizabeth. Father Melvil presses her on this point and she denies have anything to do with such plots, while admitting that she requested aid from Catholic monarchs in Europe to secure her release from her captivity in England. So she ends up the moral victor in the play, regal, resolute, and composed, as she goes to the block.

Elizabeth's last scene, on other hand, depicts her as equivocating and irresolute, accusing others, like William Cecil, Lord Burleigh and Sir William Davison, her Secretary of State, of carrying out her wishes--she'd signed the death warrant--against her wishes. So she ends up left alone on the throne, with Leicester on the way to France (with Mary's heart?), and Shrewsbury, who had counselled mercy to Mary earlier in the play, calling her out for her duplicity and leaving her service:

ELIZABETH. (speaking to Burleigh)

And dared you then to execute the writ 

Thus hastily, nor wait to know my pleasure? 

Just was the sentence—we are free from blame 

Before the world; yet it behooved thee not 

To intercept our natural clemency. 

For this, my lord, I banish you my presence; 

And as this forward will was yours alone 

Bear you alone the curse of the misdeed! 

[To DAVISON.] 

For you, sir; who have traitorously o'erstepped 

The bounds of your commission, and betrayed 

A sacred pledge intrusted to your care, 

A more severe tribunal is prepared: 

Let him be straight conducted to the Tower, 

And capital arraignments filed against him. 

My honest Talbot, you alone have proved, 

'Mongst all my counsellors, an upright man: 

You shall henceforward be my guide—my friend. 

SHREWSBURY. 

Oh! banish not the truest of your friends; 

Nor cast those into prison, who for you 

Have acted; who for you are silent now. 

But suffer me, great queen, to give the seal, 

Which, these twelve years, I've borne unworthily, 

Back to your royal hands, and take my leave. 

ELIZABETH (surprised). 

No, Shrewsbury; you surely would not now 

Desert me? No; not now. 

SHREWSBURY. 

Pardon, I am 

Too old, and this right hand is growing too stiff 

To set the seal upon your later deeds. 

ELIZABETH. 

Will he forsake me, who has saved my life? 

SHREWSBURY. 

'Tis little I have done: I could not save 

Your nobler part. Live—govern happily! 

Your rival's dead! Henceforth you've nothing more 

To fear—henceforth to nothing pay regard.

Those last lines will soon prove false: King Philip of Spain will plan his great Armada against England after the execution of Mary, Queen of Scots. England and the weather will defeat his Armada, but Elizabeth still has something left to fear. She still fears dissent--both Catholic and Puritan--among her people; she still regrets that she will leave the throne upon her death with no heir of direct family succession and yet she lived her life without ever marrying and being the mother of her heir! 

Schiller depicts another example of that same kind of equivocation in her method of dealing with great issues: wanting one end while living and acting toward another end: wanting the threat that Mary of Scotland poses removed without accepting the responsibility for causing her removal (signing the warrant while not wanting it carried out); maintaining the security of her rule alone while preventing a smooth transition of the throne by never naming her successor or marrying to "produce" an heir of her own. 

Both Elizabeth and Mary rely upon plots and subterfuge to obtain their ends and both are aghast at what those plots require of them. Mary recoils from Mortimer's zeal when she discovers its source is his lust for her; Elizabeth recoils from sentencing Mary to death because she realizes the danger it poses to the idea of monarchy, undercutting her own claim to rule. 

But at the end of Schiller's play, Mary is at peace while Elizabeth is left frustrated and alone: "Uneasy lies the head that wears a crown." (Henry IV, Part Two, Act 3; Scene 1). Mary may have lost her head, but she, the Catholic queen of Scotland, is Schiller's heroine, while Elizabeth, the Protestant queen of England, is his villain.

By the way: here's a 2009 review of a New York production of Schiller's Maria Stuarda from First Things. David P. Goldman reflects on how sympathetically the anti-Catholic Schiller portrays both Mortimer's conversion to Catholicism on the Continent and Mary's reception of the Sacraments of Reconciliation and Holy Communion. He offers excellent background on Schiller and his historical views.

Image Source (End of Act 5, Scene VII): Melvil giving Mary Holy Communion ("This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org")

Image Source (Public Domain): Portrait of Elizabeth I from 1586 to 1587, by Nicholas Hilliard.