Don Carlos, Infante of Spain: Analysis of Major Characters
"Don Carlos, Infante of Spain: Analysis of Major Characters" delves into the complex relationships and emotional struggles of the key figures in this historical narrative. Central to the story is Don Carlos, the sensitive heir to the Spanish throne, who grapples with a strained relationship with his austere father, King Philip II. The backdrop of the narrative is marked by deep resentment, particularly stemming from Don Carlos’s unrequited love for his father's second wife, Elizabeth de Valois. Philip II is portrayed as a jealous and unfeeling monarch, whose actions are often motivated by self-interest rather than compassion, and he is easily manipulated by those around him.
The marquis de Posa, a hero and steadfast friend to Don Carlos, embodies values of brotherly love and justice, advocating for better conditions for humanity even at great personal risk. Other characters, such as the Duke of Alva and the princess de Eboli, play pivotal roles in the court's intrigue and machinations against Don Carlos, contributing to a tense and conspiratorial atmosphere. Elizabeth’s love for Don Carlos complicates her loyalty to her husband, while various court officials navigate personal ambitions and betrayals. Overall, this analysis highlights the tragic dimensions of love, ambition, and power within a historical context marked by political and personal conflict.
Don Carlos, Infante of Spain: Analysis of Major Characters
Author: Friedrich Schiller
First published: 1787 as Don Carlos, Infant von Spanien (English translation, 1798)
Genre: Play
Locale: Spain
Plot: Historical
Time: Sixteenth century
Don Carlos, the sensitive, twenty-three-year-old heir to the throne of Spain. His life is a constant battle with his father, with neither holding any love for the other. Resenting his father's second marriage—Don Carlos had been in love with the bride, Elizabeth de Valois—the prince wants to leave Madrid. He hopes to free himself of the constant reminder of his continuing love for his father's wife and, as heir to the throne, establish his stature as an emissary to Flanders. Despite the unstinting efforts of his close friend for Don Carlos' happiness, Carlos' implied lot is commitment by his father to a monastery.
Philip the Second, the king of Spain. An austere monarch lacking in compassion, he knows no love either as the loved or as the lover. In only one instance is he forgiving, toward an admiral who lost a fleet in rough seas. The king's goodness, much acclaimed by his court, is motivated more by self-gain than by altruism. Jealous and insecure, Philip is easily duped by any talebearer. He blames the church for not protecting him by warning him of forces working against him. He is rebuked, in turn, for not asking the help of the church. Philip's character is quickly reflected in the question put to him: “When you whine for sympathy, is not the world your equal?”
The marquis de Posa, the friend of Don Carlos, who calls him Roderigo. Posa swore lifelong allegiance to Don Carlos for his defense of Posa in a childhood mishap. A hero in every sense of the word, Posa shows military prowess, is beneficent in his role as confidant to the major personages, is studious, and is forthright with and unmoved by those who seek to injure their fellow men. His marked influence reaches its height when he secures Philip's approval to move about the court at will. This permission follows Posa's fervent, unselfish plea to Philip for better conditions for humankind. Posa, it is learned after his death, is a peripatetic member of a monastic group, roaming to spread his philosophy of brotherly love.
The Duke of Alva, the trusted agent of Philip, working to alienate the king against Don Carlos. His duplicity is abetted by other members of the court, a group resenting the king's ready acceptance of Posa.
Elizabeth de Valois (vahl-WAH), the queen of Spain, Philip's second wife. The queen's love for Don Carlos intensifies her hatred for the king and motivates her to contemplate intrigue to further Don Carlos' ambition for the throne. Immediately before her death of grief, the love she and Carlos have for each other is purified of selfish passion as he goes forth to fight, in Posa's memory, for oppressed humankind.
The princess de Eboli (EH-bohl-ee), an attendant on the queen, whose letters to Don Carlos are mistaken for the queen's writing. The princess' affair with Philip makes her a likely accomplice to aid Alva in his conspiracy against Don Carlos. Her treacheries are abhorred by Posa, who, as confidant to Philip, would banish her from the court.
The Grand Inquisitor of Spain, the blind cardinal who identifies Posa as a member of a religious order. Rebuked for his indifference to the church, Philip delivers Don Carlos to the Inquisitor to serve in place of murdered Posa.
Domingo, the confessor to the king. He works with Alva in his plots. Because of Don Carlos' religious beliefs, Domingo deplores the thought of Carlos becoming king.
Count Lerma, the colonel of the royal bodyguard. Lerma's chief role is talebearer to Don Carlos. Much of the news he brings is half reports that distort facts and bring anguish to Don Carlos.
The marchioness de Mondecar (MOHN-deh-kahr), an attendant to the queen. Sacrificing herself to the queen's happiness, she is dismissed by Philip when she reports that it was she, not the queen, in the garden with Don Carlos.
Don Raimond de Taxis (RRI-mohnd deh TAH-hee), the postmaster general, who reveals Posa's letters in which Posa pictures himself as the queen's lover, in order to vindicate Don Carlos and allow him to escape from Spain. The letters lead to Posa's murder.
Don Louis Mercado (mehr-KAH-doh), physician to the queen. The accomplice of Don Carlos in arranging the final meeting between the prince and the queen, Mercado prepares the monkish disguise that allows Don Carlos to pass into the queen's chambers.
The Duke of Medina Sidonia (meh-DEE-nah see-DOHNnee-ah), the admiral of the king's fleet. His negligence is forgiven, making the king appear humane in the eyes of the court.