SCENE I.–The Upper Chamber in Holyrood.

In Act I of “Chastelard, a tragedy,” the scene unfolds in the Upper Chamber in Holyrood with Mary Beaton, Mary Hamilton, Mary Carmichael, and Mary Seyton—collectively known as the four Maries. The act opens with Mary Beaton singing a melancholy French song that captures the essence of her longing and sadness, weaving the sea’s vastness and tumult with personal emotion. Her companions inquire why her singing always seems to sadden her, leading to a discussion that reveals Mary Beaton’s melancholy is partly due to her lack of lovers since leaving France, touching upon past romances and the bittersweet memories of love.

The conversation among the Maries shifts towards courtly gossip and speculation about the affections and intentions within their circle, especially those directed towards the queen. They observe and comment on the various men bustling about the court, including the queen’s suitors, with a particular focus on Master Knox and his influence over the people. This leads to a broader discussion on love, loyalty, and flirtation, highlighted by Mary Hamilton’s recollection of a game played in the Louvre garden, which serves as a metaphor for the unpredictability and sometimes unrequited nature of love.

As they continue, Mary Beaton eventually resumes her song, introducing more verses that mournfully intertwine love and sea imagery, revealing her deep emotional turmoil. Her performance prompts speculation about her feelings for Chastelard, a theme that recurs throughout the act. The dynamic among the Maries further exposes the complex web of relationships, jealousy, and intrigue that characterizes the royal court. Their dialogue weaves a vivid picture of courtly life, highlighting the complexities of love, the roles women play within it, and the underlying tensions of their existence within Holyrood.

The act intricately portrays the nuanced relationships and political dynamics within the Scottish court through the lens of the four Maries. Their interactions, filled with veiled references to love, loyalty, and rivalry, set the stage for the unfolding tragedy. The entrance of Darnley towards the end of the act brings these tensions to the forefront, illustrating the personal and political complexities surrounding the queen’s courtiers and their intertwined fates.