.mw-parser-output .hidden-begin{box-sizing:border-box;width:100%;padding:5px;border:none;font-size:95%}.mw-parser-output .hidden-title{font-weight:bold;line-height:1.6;text-align:left}.mw-parser-output .hidden-content{text-align:left}@media all and (max-width:500px){.mw-parser-output .hidden-begin{width:auto!important;clear:none!important;float:none!important))You can help expand this article with text translated from the corresponding article in German. (June 2011) Click [show] for important translation instructions.
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In 1982, Lesley Sharpe argued that with Don Carlos, Schiller moved away from character-based drama, and that the play's universe "casts a shadow of ambiguity" on its characters because of the complexity of the situation.[2]
According to Schiller himself, the two main criticisms of Don Carlos were that it lacked unity and that the actions of the Marquis Posa were implausible. In Briefe über Don Carlos (1788[3]), he himself claimed that two acts is too little time for a gradual development of Philip's trust in Posa. Schiller did defend Posa's actions with arguments from character.[2]
Rudiger Gorner claimed in Standpoint that Kenneth Tynan once criticized Don Carlos as "a Spanish tragedy composed of themes borrowed from Hamlet and Phèdre",[4] though according to The Guardian's Michael Billington, Tynan was actually writing about Schiller's play Mary Stuart (1800) after seeing a 1958 performance of that work at The Old Vic.[5] Sharpe claimed that Schiller's defenses of Posa are unsuccessful because the play is not character-based in the first place, though she also said that Schiller's overall discussion of the play ultimately does "less than justice [...] to the play as a work of art".[2] Gorner argued that the "sheer musicality of Schiller's verse" is shown by such works as Don Carlos, as well as The Robbers (1781) and Intrigue and Love (1784).[4]
Boylan, R. D. (2007). Don Carlos. DoDo Press. ISBN978-1-4065-3895-3. Reprint of an 1872 translation.
Sy-Quia, Hilary Collier; Oswald, Peter (2008). Don Carlos and Mary Stuart. Oxford University Press. ISBN978-0-19-954074-7. Reprint of a 1996 translation (out-of-print).
Poulton, Mike (2005). Don Carlos. Nick Hern Books. ISBN978-1-85459-857-8. Poulton's adaptation was directed by Michael Grandage in a well-reviewed staging.[6][7]
MacDonald, Robert David (2006). Schiller: Volume Two: Don Carlos, Mary Stuart. Oberon Books. ISBN978-1-84002-619-1. MacDonald's adaptation was first staged in Edinburgh in 1995. It is a verse translation in iambic pentameter; Mary Carole McCauley wrote, "MacDonald creates a sense of ease within his 10-syllable metric lines by using modern idioms, and what the translation lacks in a certain lush richness, it may make up for in accessibility."[8]
Jeffrey L. High (CSULB) has found influences of Schiller's plays on the screenplays for several Hollywood films, and in particular suggests a close correspondence between Don Carlos and the screenplay for Star Wars (1977).[9]
^High, Jeffrey L. (2011). "Introduction: Why is this Schiller [Still] in the United States?". In High, Jeffrey L.; Martin, Nicholas; Oellers, Norbert (eds.). Who Is This Schiller Now?: Essays on His Reception and Significance. Camden House. p. 15. ISBN978-1-57113-488-2. Schiller experts unfamiliar with Star Wars could place most of the characters with the corresponding Don Karlos characters at a glance at the movie poster. ... The reader will be hard pressed to distinguish the basic plot and character constellation of Star Wars from that of Don Karlos without reference to the specific period and galaxy in question.