THB OF MN M S AS

0ol2&g& i n Papfci&X

Poa? the

By

Kox&toth &U3$<&Y B* A.

223548

TABLE m CONTESTS Chapter ?»g»

X* IHTRODtrCTION ' 1 I I . TtIS OHIGIS OF THE DOB JUM LEGEM) . • * * . 3

I I I , TIR30 IB *OLim*S m BURLAPOR DB SEVILLA . * IX IV* THE DOIT i m i LEGEND FBQS TIRSO»3 EL BURLAPOR

TO MOLIEJ«*S DOM JITAN . . . , 7 2$ Wm »OLIEHE»S B€S| JUAM 32

VI* SUA DWELL1 S Igg LIBSITOS . . . US VTI* THE DOS JUAN LSGEKD FBCW SHADVffiLL* S THE

LIBSRTI8B TO MOZAHT* S BOf OIOVAHSI . « . . 59 VIII* MOZART1 S DQH mmMMWt 4-

11, CORCLUSIOH 76 BIBLIOGRAPHY 19

as *. 3ab«l tov lU&er&stan* Bt has u# 1### popular m

& subjeot f » lit©«y?y anS »mi»aX tra&fesexit* A test a#

to tft» ©volution «f M s fisapMtt*!?#, S w o » l fac-

tors add to M s >m a subject for .«»& tvett*

fcay «a fe 4««IJ®g with lita- pjpafita from

Gm mmt- fen MswfiiX not to pm® mm s§n 3hmm m m

wmm llb«x*fcin«* s§- is <w»* af eea****. but «f «t w y

*» a popt&raSa? soe ioty, a » ® m m m to all *ft&tta*Mji but tb»

few Be® at least in. M s arlgtwal fens, could -set teste

other fcti&rj on© of rigid st©p&l regression of tii© «rofci© driveB,

sueh. m 1m® exleted i» Europe sine© the dominance of ChrlaK

tlaatty* Hie original DOR Juan is * rebel, aaS * retoeX M l

Jmir© sc«a®tfairig to mh®% ag&i&st*

1# lamst not eonfuae DOB J t e ittMi TUT m»t of l&tortiUMi

w find is, omek agthelogyv for example# ffe» eC

a Boa luiffi are aot really ©©sparable to those ©I1 2et»i# b©~

earn®© tit perforating Ms escapades* lens is doing ©»©%%

wh&t Is ejected of fclm »» a omk ge&f tti ttaKp* la a» wtval.

indignation tnrodtawl awi nothing for hits to rebel ftgRtasfe* ,

On th* other hand* 2a the original Dm £ua» its#*1# is almys .

an s t e n t of pmtmst and rebellion on on® aid©, aadt of di-

vlna resentment Hi yaweag* o» t$»» other* Don £wm 1B M®M

akin la aattsra tm Prow then® *a& tisnu to 2wia* F©»

a true Be® J*uan there is always a oastMMfe with the mmmt

der aa& Its thaologieal mqpports* M%» ouftmgns «** not ia» -

4iTt4u*l hat ii»tltiiti#iial* It is this that €istii3^lsM#

Mm from &t* amtttmpavt* is ether ©mltwes*

This paper la to to© a «tn6y of the «*igl» of the 'Bom

J«a legend coi ©f the iBgHtrfeBtt 6mm&I» waste dealiag ifith

the 3*gen& tip to ttan Por tfa* present

purpo*a €r®sia will I® ia&ei reted a& ineladiag apera femtiiot

baliet* 1fee »|«f enplmsls of thia study *iIX fe®" pJUM**& a®,

the development of the legend aad on the eharaetea? isafe 1 cm of

Its prinelpal flgttttt*

ft la earnm for wwi$im t& pmm owt* ttus aoureea e£

tib* Don Jtea. l*gfmA by saying that tto® Is of Spaatali

origin «M that It wag first £©t3Po#w«4 iato llt«**ttape fey

ptibliiiMkl In 1630* ftii# is ttM m i l gaaaralisation, tat

fuptiMnr la stigati.#!! reveal* that It Is ma

ti«a aa<t of doutotfiil exae&iae**

Tlx# legeafi. Itself* arising fiwa bfo© rolls*©-oii«lott®»#«p

Is soon lost In the « p » aad l*sy remoteness of antiquity*

Mfe® moat folk M&evlftl* Its ereatlon is not stti>$eet to €i«*

vest »»uaittkttc«u It Is relatively clear, however, that tfe*

basis eletaents ©f the D m Juaa l©gen4 are eocftion to many

la It# si shiest arat earliest form, the Don Juan le&end

Is sierely the story of a libertis# punished toy swper-mtural

ijitorireri ti on* fhls story m y b© tato two essential

elements* (1) a libertine an& (2) his supernatural paiA»

aeolu inNmysp th©3© two elaments are J#imA ~m have m pos-

sible nucleus for ths Don M b &*••* fines# eleiaonts aw

a&sost to# giwsi to Wittk* Jwswever* asti «# msfc find

stop* l a to wm3» mmU prajgppd&p fit

tracing the !»$•«£* .

CM ©XCMWf* WU*»ilH*ticm, i t ©SB fe# ®#®S that tfe* W » 1

Bos Juan l a litcwfttur* tha dwuaa 1# not jus t ft® or&laary

l i b e r t i n e , but m * «bo i# e b m e t e r t s«d by a ktnA ©f magiit*

tote « a «a mtsNna® i n Mm M m of peetp&izit

a t any Mat# 4s J?**- h i s puniebstent, i t w i l l is#

mm. l a t e r tba t the t f f t e a l fw® Is d©ath at; taw bend* oaf *

statu© of ft person ft# has wronged* th la i s »ot invariable,

hemweKV aadt in toe* YMtioa* the offeofier l a e truck €#*» by

lightning* l a fo lk- lore tbeee few eleneate exlafeed ift vftngr

d i f f e r en t f w i s * najiif ©M jmriMttmm e» the wmlmm "mm

«M mni jromifele* but »im»% tfowe &m tbe mmm ifeieii, bmmm

awl Jut*# eosse to b# eon*14e*<ed typ l -

©ftl# a t leaet of tbe works praeeding -f&® sl»st««atli m m t m j ,

i t wi l l perhaps b© tsost useful feo tr&ee a t well aa possible

these foraa of the elements and the conditions neeesaary t m

the i r eosofclimtloa#

The l i e s est aa individual with an tarnsml snetmt mt

mmml energy « & prowess Is a eosaron on© In meat jspthology

and fo lk- lore* Sftsaerous ©xanpl©s mm ircaedlateiy recognisable

in Greek mythology. There are the various morons op is odes

of 2©us and the adventures of Theseus with Hippolyta* Phaedra,

Helen, asad Proserpine* In flsf* aiythology, Wodin 1ms a nu»~

fcer of a l l ianees with mortals# as does, to a l©s®ar ©stent,

tli© Odin of i » 8 » aythology* In fb© 3&ousand aad On© |

ltbidinou# « £ a » quit© ijraralont* E#i*Qes»lfek gp#at

sexual ex&loita «f* found In Chlaeaa legends, th» fimdA

art Bft»b otha* folk M&arial*

2h» &«•» of &vkpmwmtuml puataimmt is also ©«s«s& in

foXfe-Xoya* Alsoat any aooiafcy aufflctautly dmJLopad t» hav«

aay torn of M s tb® inovifcabla oonsaptlea of

aoat m© of fcafeaa* grow «j»

about the «tana? mi# p®i^»afc# to fcisn forms

puniatsaant typiml at the Don Jaan ato^y &«j of g?*&t ms?*

feifulty .and jpxwraaanaft* Ttaft 16a* of sup«F]naatu?aX paalaboNn*

by X£g£»tx»tag ©j? fiwa ft*« bM*«n is ;M*tlattXai&y' #X«ieiiteX in

mtnm.# and Is found in. tha Bible, in $r«ek and Teutonic

ethology, and #1mmmrn* fh* thama of pimiafewmt at tfeft

hands of a. .statu© axistad iws la fee #»•

ArlctotXa mmitimm- tha al&yins of Mi# Aapglip® ifltys % tam

afcatua of a. warn ha had killed*1 m @ idea of pxmlehaant by

a akulX* at skeleton, or a statu® «hieh hat the powers of

apaaoti aM amMttt* « M widaapreaS in European folte-Xora of

tha Middle Agaa* Ifeis Xageod w y fa«s0»Xy tocOe Si# few In

isfaieh. the oftfaa&ar invito# at*ai& «a ofejaot to dinner ma& fiods

M s invitation ftoeaptodi and his puniafaaanfc «afee4 out*

•Jotiberfc aumoarisea one of thes© Xegeaia, is

farad la iianeadft* Filial* a aoaanen do £#oa». «s fa&toowt

A youtfe want to ahizroh* not to attend ttasa* only fes. look at l » M « » w«»»* Ho mm® & airaXl «h!4h Ha

^Ariatot&a, Pities* IX, 6m

6

tei&m out of the iwltlsg It fN» *Hg»p6##. AimXtiag his &m9k b» a 'immU at" the #»p# Th» •***«»* aoaueni it* Hia# titelfttoa eaters «. sits down*. Tout m* tumm MKt Hi Ar&afc# It isnritfts it* host fe» isppsir at-'aiSJttl|Sbtt ts & abiaratt* yoa&i at the sigist of as «jp#n he ©alls upon 0ed and is thus «m*& f*oi» dtstanoefelos*?

such SftgKida# occurring 1» «8sw dlff &«wst font**- war# a®»*-

daat iftTcragbwafe Bopogw* They urn*® ma&tlj ®M

«wtssattf *ulMt £o» Ineorpdmtioa into the Ban Juan legcmd

as it teolc afcspfe#

Certain mn&ltlmiB vow* aM&Mavy for t&#8« t®@ ©4#-

aants to be mfeiowl «aft to aMnilti in f&* d*f*Xosufti)& «C

Boa J aan a# h& is knowi today# To ppoduoo a reb«l a®

he# & society woaM tew to have rlg&ft «mbm2 talwuM Tfi>

the fcypiea.1 poo fr&a ©sta#fey#pl»# i t would law® to

have strong but mtber crude lion# of pkals^

menlm

with Ohm app@a4 of Christianity th&so <Mm&itid&8 pre*

trailed over a wii# &«*&« lihMt tha i<S»a of tt» indiiriiiml

trifeii .grt&i mmmX prowess prdaoatod itself to the

ognroloutfMra #e»iditls5j»i by sash social ftad vftUgleuK ideas,'

i t found itself eK3®POKfcod with tims# tabua ami Meat olf

jwnishsaenfc# S3b» insult was VygtaA* «f $h» Don Mm type* *

aort of caanproinis® in which fefct® te# is quit®- ts*i\waph&n% In

bis i30xaal exploits but aeets eventual punishment by «#»*

fMtuvAl intartraBtian* 9tos eaupjwwi*# wui infinitely •fttltfftateey?

%# JftK&Krfe* *©fn Mxt im &fc»3Pfttut!Ni and ffcssle*" Oyn» CWM (#§b*ua*y# 1,935 )f it?* • ™*

allowing triaarlotsa wisfa~fulflllraant without violating »0fml

prohibifciona*

8\«a£i laganSa mm aactrmmXj dfffieutlt to tfmo® in their

early foroa, but t&ay w » quite widespread in the various

European felk-lores*3 According to 3* 1* WftjmNt the logami

exists In the f#ll&»lore of every people In M®atag»

Swaaera stomas that parallels m m to b® fouad in the folk-

lore of Portugal, Sloily, Brittany, Oaaoony, Germany, B#wwrMf,

and Seandinavia«£ FIfc»m«rie«H£elly states that tha

Is found ©was in Xool&nd*^1

As for other influences m tha legend, the histories!

theory wuat be aonsidered, Many oritiea state definitely

that wm auoh person as Don Joan ever existed* Other* stat#

just m dogmatically that fea m s an his tor lea"! figure

who perforraad tha actions attributed to him# Th* latter

claim that Don Man and one of bis victims, th® cotaa&ndar

Ulloa, «r# recorded. in old ehfmialas# Those «be favor tha

historical theory have not yet brought forward sufficient

ovidonee to ailana# their opponents.

%«wt# Fit8a&uriee~Kelly# "Don Juan.,8 Biwyglapadla

3rltanndea« 7Xt# 529#

^MnueX »# M w * "The Don I w tiegexai in t#ita»,tar«#w

J T W I O T A & L of Aaerlaan Folklaw**, TO < 1 9 0 8 ) , 3 J 9 £ H »

Ssoiitague SunraerSft ^latrotestion*11 flia Collet# ffwkl S& ^ » g SMmtl.* 1» axacvii. ' —

%«mas Fitsraaurioe->Kelly, A History of Sganiali XXta®*-

8

It aeema to be tim usual thing for tourist a in Spain

to be told, m the etrieteat truth* soswt sueh story m 1*

related fey Lftbordtee

According to local aceoxmts, don JUan Tenor to m # * ®wfcN»r of a 'family astong the in Seville* He aedueed t&o- teighter of m eerS&ia'eSSHSSoi* tflloa «nft killed her father la the ensuing w burled ia the ,Frts»i#ea39t raonastery awl &• statu# m s erected to hi# »eiw?y Is the efe&i>#l* la order fee put a atop to don Juan's misdemeanors, the friars of tfeo

enticed his Into their grounds at night and slev M i t giving out t&at ho had insulted ffliea*® statue «nd M l b©@n throws tat# hell by lt#7

there 1* & possibility that mnm smU pax«ob actually lived

and that M s life may bm& had some on the legend

as He It today* but, the existence of widespread previous

legends p m m m that m such person was ase^saary for tine ori-

gin of the literary *nft dramatic eharaetor*

Early literary a M drass&tie version® of tho legend are

alao diffleult to establish definitely, partleulftrly as to

dates# According to 3nMor*# who bases his statement on

castil-Blase, tteo** is a-.trMifcl a tib*t m

called £1 &t«lata faXatlao&o» dealing with the m subjeet

m JH; de Sevlllft* _ was meted la fifteenth mo& six-

teenth century Spain* Mo manuscript of the drassa has been

discovered, however* Xn hla preface to gho Libertine*

Thoxma Shadwell observed:

1 Imm boast told by a worthy aoiitleman, that many ymmm ago® (when- first a Play was iied© on this Story in Italy) be has eeen It Aeted there by the ns»® of

?E# D«. LftbovdA* A History «f SpoaflHh Id.tog»taapQ« p* U§.$*

la Churches, 031 as a p

A 4r»» entitled L*Afc»l*tai foiatimto^ pmsmmblj the

is imown to haw been perforated by a® Italian eo»»<K|la

dell' art# troupes# Aaong a collection of Mi® a«#imrl#8 cm

whlsb thai? laprasptu <mm based bes been dis-

covered a scenario with this title*? *h© afeory aa

by tills outline deals with an ttoaex^ulxHUi Count Aurelto

m o e&teupts to ftbduet a young woaon, Leonora# If# 1* retake*

by the BtatmB In a fenspl® and is eventually punished by a

ttrote of Hg&talag* S© is «$-aasjpsai@€ by it eow&rdly sot-

ant# linos® ©laessssow nap® to b# tmmiH. in so M f Inter ver-

sions of tit® legend* *0 lo #©JTiiiit# €&i© or ptet of* origin

can be established for this play, "out there seests to be little

dovtot that It originated In Italy or Spain i«n*g before tb*

pufolieatian of El In 163G» fh© existing eepy off the

scenario datos fro® the aid-seventeenth century, but tlnls is

uo rea£ iallemtloii of the date of origin of anything

so iion»lit,@rsry es ttos opagedla dell* ea»te repertory# Availa-

ble evidence soeas to indicate the existence of the Do® Juan

thema in dramatic form at a v#?y early date#

fh@ first drasia eoablntng the two basic eleaeitts of the

Don «T»as theme which ©an bo definitely ee tab limbed as to

\&o®as S£ia*weXl» ttFm£^mtn (to ffe# &ll»ertliis>c ffe# C«*» 1 worses ©gr IDIOMS# siaaawj.Xg edited ly iioStlgs»" *

^ • i U w d ^ i 81*o£L» «aska» g m s » » & M %lraoles» p« 3Sl»

l0IM4»* p. 227»

\

date s&acl author Is la Cuava*-# tiagjBaa&oy (1531)* 2a

tills p^Mf tba h«r% I#mtTx&9 boasts that ha aaa. eonquer M f

wsMb&m His rwsat raatnda him that at 2#as$ mm# ISitoAc®*#

lias rtfltW his* After having failM to fovea ha&t Irfmcln®

fcrlw to dastroy bar by a falw accusation, hat aha Is #®ros«l

by tlve tatorvantlan of the .ro&dass

C» Tism&star jwmtiona a French play, £*l»oMtaae«

pvtata LaCroix, *hioh waa pufeliahad the awna mm

SI it ha# aariy atmlX&rifctes to fcl» lattar piay>

hut alneo direct influence Is miitoly,- fcaaswaMtear suggest#

* #

Thus it oss ha noon, at laaat* that the basic olaraonta

of tts® Boa .Juan l&gs&d and tfe® ooniiiteas® ues®-««s»y far thai*

combination sf©-e»# in oadLafeOBO# long before flrao'a plagrp- hut

the legend had not as3»d ita * 6 faalllar -asoi ©fau t-of***

istio for»« It was flwo ntSso first the fssslltaap

mam of Bob Juan Teaorlo to fcha legeai&&*? figure- and gw#

tha legend the inpataa «hlch has rosiuliod 3& a of

gp»- olt«, p« 1B7*

* %£» Caradnfgtox* Saaoagtor*. *Do« .yuan- In a French Play of 1630,® FSM # x m i (1923)# U-n-^78*

•cmpms HI

tibso m hl mrnkmn. m

fl» *arlou* •IjmbkbAs of tli* Sea Juaa legend *»r® flrat

eoablaed la their standard <Jra»ti# form by thm mvtmfmwi&h

mmtvmf spraiab p3yay**ight G*bri*X Telle** itmrn paaaAoegwi

ms firso -i# ?f©ll!*&« Born Jm f%m& beoaao ft rank of

th» Orisr of Heroy im 1601 and te»M w i w Ijaportant

aatical positions during Ms llfatiaw* He lived wish of hi*

life is foleil® anA died as tbe prior of eoavwofc «t 3oria

in XtilfS* In 26££ k» was ada«mlai)*d fey tb* Council af Cactlia

f® tike franfe tMatMHat of via* la M# plays# Bespit® hi#

taoeiESJih veea&l«j% h® wrote fca? the p<qptt2«i» tliafl&sr* sod hie

play® bear tba i^ln©»© of it as wall as af the cburcfc*

Tirao*9 bust plays esuae hla to be ra»li©a «tOfig the im-

portant dvnatiat* the aolden. Age Spain# ouch »» top®

d© ¥©fgftj( a&ftaHfeia 'to Castro, and Alareoiw 1# is reported

to have written foup fcuadred plays* ot ahieh about eighty

art ea&a»fc* Sis «o«t &B103& is Ills Boa Jtea playv SI iwlftlter

de 5wi.il*# X PlMpa^ but J& T«»g<m«OfO m

D&m M l do 3iaa atfUaMu fgarf la and Ofttnar**

are is%ll»lsttawa* 1® wrot# is sway other foama its «*£U»mm.j»0

poems, short nov®ls, and a history of Ms order*

SI Burlador da» BmtllM mm first piMAtd at Sa*oel#n»

Is I63O in a wXuh* fwelye Bow Flaya fey %**>• de

I t

Carplo aa i Other Authors* I t was preauj&atbly wri t ten a fmm

years mwtlm* probably about l62j>»

•flFW*s iaoadiate aouroes a w not known ox&ctly, but the

p o s s i b i l i t i e s ay* e lMf« Spain ma part!U?3A*2y

riet* In Hon Jvtm folfc-lore« M W i older than the play «ca~

t&la the ©Xwestfes of feh®8t% aad Xejpad# of

v'>unlstosa&at by s t a t e s wmm extremely oosnon* f|j# basics these

&*& already hmn dMklfc witk i n Cuarn* » SadPiMMtdQy sad jxcqfeafely

i s mi ®=e©X#sl&sti#sI drajaa, I»<4te|gtti Sedueera

and mlklug stone statues ©eour in the worke of Lope a® fegsi#

? i rsa»s master#1 Ttawe i s sera© reaenblance between the Don

«Tua» of f t w s sad %hm r u t i m of ear ly Sjjfui&pli teas*® Any

op a l l of tb**» oould haw suggested op istfluiKKed th* ehar~

astap*

Aa f w Tlrao» a treatment of the Xegend as i t «a& m i l f t *

bio to h i s , i t ie apparent that Ins ulcus® a*««m« the ev»dit

f w a lwa t log i t to tfee male of «H» folic ar te***!

awilstolo to M s ir&s urvfonaed asd the eharaater tasi«*

developed* Pwwricma dramatic tvMoMiata vara primitive aad

laaktag l a flbaraeter 1 aation and philosophic Interest*.

3toa Spaalah i a flargo* is Ma» wmw esaent ta l ly

pepolAT in m l w # 3ti* secular theater had only veoaettly

rAbOXtdOt OS>» Clt«» p# 13?. 2«T» P* ttlckerflfoan, ttTho Braggart Soldier and th# Rufiirn

in th© $p«KUh Disam of th® Sixteenth Century," Jfosnuii# ngf lgf t XI (1911)# 2£6*20&* "

raff

•* tSn» gflasiffel chtffttotop is osniRllgr

inf iii

m in

litemfcup*** I t w i l l pevtuqps mil to gim s imtkm

taf1

&9mfm

ef I t is night* $$& I m . who Ims t»e» #x!3^'

hmt- Ms® Oetairi®* StJwptetMstg t&At a&* te® bmn

to finU oufc wt*o t&$ ©#iiplA

Pi» Ja*a reoognlaea poa ? M » # «&© is Ms ?1m6*

as®!® to *1&av Mm to Dan f # € » t«l le «b* Slag that

ftsp&tira to

1$

Bern Juan «ad M s rutot; Catallnon have ooftK

Spain* fJwf • ao©t f tx*s$ the bastifeUTaii ftsb*p »f4@it fist

at# avomls of Xoto to ti»* AXfea«j|h. she tea |ust

aoojra f oi» h©» among ftt® local £ tjisiefjs®! ah# sn*

Doxi Jtoan* irlth, M s a@s*mnfc» flees amy to Seville$ desert-

ing bar as is M s ««&«*. S&e I® left with only &«r decep-

tion ««3 a desire for

a siai»i»iag© fop $m& wttij B«ant 433% of Bon <*

d# tflloa* th* Knight Cos,imnd©r of 6odb&£es* vlth

&ebrl|a$ sssci tJs® a»rri&@e wife Docift A®* is ei&XeS off#

I>oa ,fs»% aM&y ax*riv©& in .agflll® an o M

£pi&&&# t&9 W0»qp£m de la S-ota Don J"uon agrees to talcs

part i» «t WMMEpflafts Kota ha* p&usimnI the <afejeet of y hiek Is

Boas, Ana* «tis> lovea Mota but.Is IrajasaMpy sau®e»

TOwsn tbd two friends have parted, a note for Mot a is

handed to Don Juan. It is from Dona Ana, who, because a

marriage opposed to her inclinations is being arranged,

16

Informs Mota that if h© will appear at the entrance of hop

garden at eleven this night, she will give herself to hi®

completely. Don Juan, determined to enjoy the lady himself,

relays the message to Mota, changing the appointed hour to

twelve*

Don Diego, laeefcing his son in the street, denounces hia

for his deeds and announces the sentence of banishment to

Lebrija« Don Juan Is unrepentant and his father consignd

M ® to the hands of God#

!,!ota appears with a bared of auslaiana, and ho and Don

Juan proceed to the house of Ana* s father, Don Gonsalo de

Ulloa* At the entrance of the garden, Don Juan pretends to

fear an ambush and offers to enter tho garden first# wearing

Uota* 3 red cape* Aside, Catalinon reminds his wastes of the

danger of the pranlc he is going to play, but Don Juan cannot

resist the attempt*

V/hlle the nu3ioiaxis pretend to play a harmless lover* s

serenade, Don Juan enters the garden* After only a now stan-

zas, Ana* s cry that she has been betrayed Is heard frota

within# Don Gonsalo rushes to his daughter' a aid and is

slain by Don Juan* Coming out of the garden, Don Juan re-

turns the red cloak to L!ota, who has heard nothing, and *Ss-

cape3* fttota approaches the gate just in tiae to be arrested

for the crime. The King orders his death and promises the

erection of a woouxaent to Don Gonsalo,

IT

©os- Juan* on tha w&y to Ms place of banishment, haara

of & country wadding* n« latjpa&fes tJs» rustle

•ad usarp® th» brl&kgreaa's place at $!h» bt*i<3# Aairita

la attraotod In. spit# of her30lf by $b* ®ktt«stl,©m at a cava-

lier* Her fiassae Satrieto is iatia&4at«d by Don gmm*® M»Jc

«taA bar ffBtibmp .gmmmm© it so «ag$p at tSye pregp efe of « aili»-

«ao» with awfe *. noblaa&ii th&fe be oamot poraaive tho situ*

ation eleaarly* ftyi may Is open for another asorous «dv»nfti»e*.

While Aniot* is mitiiag .f«r her ta#bat»J- to ecraa to bar, dor

Jfaan appears Instead* Shs yields to bis vcnm of 3a»»i prom-

ism of marriage* But tfe* boraes ape mitlag 9utsiAe«

Boa $siss aa3 gmtollsioa# arrivlj&g in fclio of

Seville* observe tba sepulchre an# "SMiaBis&t of Bant Oonsalo*

«ritb its inaeriptioa readings

!«*© lies a Mfel©iiaa% i®jsf foully B&rdeped, Baits to ba avenged ijpofj the tmlto* Vfho a i m M

rjmglalisg* Don &s» plueks tbe beard af tfa* Statu* and Ixnritmm

it to dine with, bis at Ms iraw Hi fr£ jt@»sd CataXinoa

tlHMOftUte •$ tbls

At Ms- jUm Boa jpuoa bsa coNSflved a banqttefc of cold seat

and boiling vim, *hich he h&o hoard are favored In hall* A

loud knock souaada* The servant iftu> la gestfe to answer it re-

turaa too etuplfied to speak* 0ata,liae«i# too, rettams.

Gabriel Telle* (Tirso <$& Molina), 11 gmrlftaor 4# ,g#y|»lla»i

fConvidado d» FiadgiU temwlated mi lay '

ohpt p»

18

frigJit®H©d out of M s wits-* Bom Juan hlmaalf goaa to the

door, «hlc1a opens on. Stutu® of ttoe Command*?,. Don 3onzalo

Ulloa* Boa 4faiKa smssoias all his #©mmg# asfi proceeds to

a&t&gptsain him guo&t*. *Ba© st&tii* Is $*&&&& mad «oeej»ti! wins*

Don Joss taw M s s®?«fe8 niiig fop hita*. So the fa«#fiot»

inquiries of Oatalinon, «too taw partly wrevaoM* M s £**?»

the statue oslj aod# ia reply* •

The Statiio indicates that lie Is leairiBg, and Motions

tha otitavs to iMmm hla alone with Don M o * Statue

ttttota ft promise that Don >lwaa &ufi Cataltnon will 41» wife

M m the next nigjut tm hla isorttaary tfiapal* Wmm fee Statue

has IM» aum for a wwfe TVwm&A f®m*9 but Jits deter-

mination to te«p Ms word vemaina*

Bern juan# ffeoae baalshaent tofts been lifted* baa mm.

«b» Sag* *fe# lasts t w a ^ * wif -lage for hte with Xf»fe©1jt*

Bvetgrthli% In *ea£y for his wadding* but h* insists on v*»

turning tt» visit of tts# status* Wnm he mft C&tmliijoa «p*>

pear at th© nortmry chapel, a boll begins to toll sombrely*

Urns tbuy teiock, W» gate opens of itself* ft>@ statu* ootaea

fc® meet tlsM, pleaaed that Bon. J swa hm lesp% his word* P<«

sissl B « (tensaS* lift a burial slab «&& pimm it ftevosa

two tMofeefeHMMi fop a table* Blaok figuMta l»ing in efeaiss*.

Diahee off CBoaploos and wtn» lilst gaU and inegf» «ws sawed*

A gfeoatly song lft toavd without# Dos Ckmsalo risea «M

tales® Boa Juan* sa hand* A burning fire rims t r o # Don jftNGR*

Don Cunsalo announces in a' aXcnr* terrible tone that this is

I f

a of God* a f o r M s a%xm* Bo© Juan, i s

agony, s fe r i tos a t Mi# S ta in* wi tk h i * #&^psr b a t I t a M t * a©

vufosiaiiee* I n despaii* be aisles out t b f t i h® M not had fclia®

t o 4k> til® *1X1 « Don* test#

fti# Statu® I s not appeased a»cl Don | « s i>#gs t o to* a l »

lowed t o s#® a p r i e s t so t h a t he may d i e n Chr i s t i azu ffhe

state®© yap l i e s t

The chaps ! t r e s&les «aft s i n k s i n t o i a » tmaetb^, b a t Ctetad&HB&t

escapes and inuaa « » | t o t e l l of %3m i jw-teisl® he has wit~

nessocl*

At the King*s ©ottpt, mi l Dob Juan 'a i r i s M s s Imm gath*

•etm&m Batat ts ie* f lab**# aad Jtetiaift bog m4mm tot* t h e i r

I n j u r i e s * Mota, i&os© pardon has been <fetttlaad t h r o n g Pom,

Aim's In^MPWMHtioa^ appaaara «xt& r e v e a l a B«s» J i w i f » g u i l t t a

the of M Oo&sale* B t s l t s i a g the f u l l ewsapjatiy at

&oa ^ a a a ' s h i * f a t h e r disown# h i * sua tint Sing •«&»

t m m m M s to Mrtto* Afc t&Ur potnfc €&tslfi3«i and r e *

e l t + s h i s gewesm Tim rm&lning ohaaftstmm- mm

disposed of 1& i m d f t g ^ O e t t t r i o with Setn wi th Am*

BsHuri#i«* vita* Mmimm* m& Tisbe* wi th zm ®£ hm tmmsmn

8UitoZ»S»

S i s stars m plajy ef intrigiK* tSuoi * piny of

ftharsstexlMtUm* Action f«ar eufevelgis timmatontamttjm £»

k&UU M? P* 2<^»

tot«l Wbftt there is* la al£az*

la wxap#&UMI *fc lagfc to Mi# »&* ©an op

la tate®*

to# 1* s t i l l fWRg *s «» tew M» i s Us# ploy* h* bmm Ind

mraez^us ttosek adwmtiaws before tlm mm t-w utital* 1# 5te»

"beea ##s& fe& Xtalar* *6hs ti&sgg J»» feMuwie » pwrb ot Mm

21

nature* «ith M m soduction i» a aport, but an all^OMWtisig

on** pw*au*d'«ltli mwmwmmm

Ho will *d»l£ -of no teitp to hta saxual agp&elta*. •

H« deflaa 3mwb. saopality, ftM religion, S* fcaa no wgpRpi. for

tJa® feelings of others or the protastatioa* of a ffctbep, He

«aa Mil without standi?®© in tofanAlag hiiaaelf {Mb puttlab-

Mftt for hia misdeeds* Bo veora* bone* m 4 olottk undar

vfclah irillsiaf- M^ssji Hi® only points* of homwp 1» rcspecta

a» eowiMig* ago! perhaps »a% but that not to

A© ai*e thaasalvea false, fo th#a Is© will mmx aujytfalng* .

®» «aoi«MKUi energy of Dan teaa la MUOITmM tfoiatfjr

ta an &xtmm tiseswlglMXity la to fee® of danger and re-

straint. After being banished to Italy fas immediately eom~

wita tfa* aaa* afitmuo* for «hi& fee m toafeldfaftd, m i with a

w«w»a of the highest nobility* He baglaa Ms eaagsaigja for

ftsfeesi vtollm still fea2f«iirom*d from «!tijfln«aiu Ha violates

M # sentence of baaiahaent by returning to Swill** #»a

tbeugi tea imowa that Jfota ® f weal hla guilt t» tfe« M

of *>oa Gooaala at «ngr mcsaent. la a vagasti he insults tt»

status of ffee wtft l» has M13#d» sai alts tfesesgb two feasts

*tt3at tfa® statue* In spit# of his t» is *•««•»

pl*st#ly tritagfeaat o»p asan ami 8nat-f.fi Utatlttttlone* Hla

poaltion* father*0 influence at eourt* ®esi. M® jj@rao©*l

reaoureefulneea potest iiia fro© all bvmm retallatloa*

Divine intervention is neeeaaary to punish hia*

Is an mtmmmfc of saimgery in, Don 3*i]ggw

Thmm t& no r«a l tandem© as In Ma* 1# i s sscwe life© a hatfk

wife i t s pawy ttms a m with fit maid, altbcmgh tie oan f l a y

tha lover i m t t l h i s conq^ieat i s lutauead* Sis cruel ty i s

greater than that inherent tn the s i tua t ion of & saaa engaged

In & earear of aaductioru He rovoal# tfei* a t t i t u d e by the

hear t less m&rmoT In which he wmrm.Iw Ma 2*e&l ident i ty to

Jlat»fc& Is von, and by M s gloating over

I t i s efertosta feet Ms M m of the intercourse of the m » u

is? that of h o s t i l i t y mod combat* In a way he i s iiamatyre

a l i t y .

Bos l n * s mrmJMj i s fwfeei* indicated by h i s typica l

a$thods of due of M s f&irorife® t r i eks (and h#

usually sees Ms e&o&padea a t t r i cks or pranks) i s to d ia -

desirea axid t® poa#ess hep in th ia pits®# Whan # » 1

tif#u©8S# &r© so ovartthalmed by the prospect of marriage t i l th

a noblowan that they y ie ld aaaily* h© usually » s ® r t s t o p « » *

ises of tpsryiag®-* Both devices are of the ^pranJ:* var ie ty #

and he la quite proud of h i s reputat ion as a o r "<Io~

8 e i w " esf "wrmm*.

23

Besplte all hla xfobelliTirs©' a Bon JmM I s not an

atheist* Ba xsoapaly elldfss that sins# &a ia youag ti# ia®#d

not wmrf about o#»£®iisi©& ami vepeaftasHse tm ymm#.

aoi vmxm&Ll•» he em gvatlfy his appetites as finely a® lie

is able* He fully Ix&anA* to repent at some indefinite tin©

is tto ftsfcwe «i ata a goM o«tiw»li»»

Is Tlrao'a play tfee tjrpio&l prnfefctana, of plot and cliarao-

ts«ro fw a Bon Asaa play, a* m least for o»e wltton before

tb* nineteenth eanfcary* la ««t<a>ltafe*d,» Wm plot is composed

of & s®2»ios of deceptions followed by a sup® r<aa tia?&l punish-,

araA of their jHwpfttM&or* fib* .wt&egmX oimmmtm' is,, of

@0aw®# J'uan, tbs libertine of pmngamtl©a%, »ho 1® aooonpanied by ills eon&e mkpvh # About tiila o®»t#r la

8 circle of off ©Tided of varyiag stations of life# «n& tho is flmrlooAy telaacMMt by Umi statu# *s aa

tastewmt of Mwtm pnaitfaMtoW tfitfa aea* no&flM&UmMi

this baaie plot &»8 «#t of oh&raeters £s standard until fcfa*

t*egjtalas of tl» ala©t«#at&- eexxtury#

Daisg a t»gl*©oi»iyt El BmlMag I» si»fi la tone# It

lias oonie ©l«f»©at% but it £# amr mesmtf £rl*o&0ii*f, an&

comedy S*§ #Xmys s afepfdimt# to ttna wrioas elftsaitt* t» tin*

play# fste tiioas 1$ & serious one# Although Tirao was lateac*-

e&teg in «o»3, Niwwi% ton mi still « mmtk#, «aA Mb play ha* a definite ataraX purpose# Is effa&t lv» i-s aayingt "J$e-

pent before it is too late* f« «?&& t&oogfr all th3 mBtrie-

tioaa of wen as*® evereosie, tit©*® i« still God to punish.**

2^

1% has hmn suggested tts&t Tlrao « s by M s su-

periors f ® e&atlng doubt m fcho effio&ey of lagsfc-mltiut© re-

pentances in this MIS*?-# Fagfeapa b* MOP tfaftt* If It b » m m

widespread, such m i#» would have vreoka&sd the immX .Influ-

ence of Us* CtntMfti u far as ©wrjiaj Xifs was consented*

It Is probable tfa&t botii feds cl am&ile ifystltssfe and his

sesJctsta principles ?iroo to develop -a# forai-

IQSS legends available to M ® Into effective gromtio fora*

It « s li# «6u> -aadte Don- Jbatt & etaAvaetep aod not just a tfp#«

It van M s play vhlah bm&m tb* vague for Bon $aaa llten&tu*#

TJhlch is still aXlv© tin?#© centuries later*

s a w s i v

^ DOH i m S SBffiBSD FHOM TiaSO«S EL BUHLADOH

SO «GX£EI**S DOS

&£tax* t i ie Burn Juan l@g®M had sus# baen e s t a b l i s h e d i n

a d e f i n i t e -L i t e ra ry and d r a m t i c fonsi th rough the

o f ^ i r s o ' a I t sppfwut m p I C l y -An& ««»& beeaa* m popu la r

sub jec t f a ? $t*e %hmm appealed nex t I n

I t a l y i n two- «4apt&t l9B9 o f p l a y , both, e n t i t l e d t l

goggjfeat# d i p i » t g a » The adapter®, nbose i § f t e bo th • p p a u M g

*3>aufe 1650-1652, • were O lae ln to kmikmm C i c o g n i n i aad Qoofpio

011&*er£o# ffe® l a t t e r 1 a p l a y tea bean l©sfc-t b u t t ^ e o g n l a l * * •

i s e x t a n t . I s thMM v w a i o n a tha h i g h o o r a l purpos* o f T i r a o

M a ' g s m t l j dagansaNKfcad* and the sop# aawMkttoaal ahaarMtar*

i s t i e a o f htm p l a y tew been ctaEg&olfead for - p®|^aMr appea l *

Bi® p l o t m # , soon adopted by t h e I t a l i a n ecaswiaNtia d # l l »

a r t # m a» o u t l i n a fot» i ^ s s s p t i paxtforsftnaa* s e v e r a l v e r -

s ions o f t h i s froenario aro e x t a n t , a l l e n t i t l e d 11 Conv i t a to

d i p i a t m * ^ *£b» ooBgaedia # t i p a r t e t roupas ha# been v i s i t -

i n g France s ince lMtfoara the alOS!l* o f t ha a l j c tecn th e e n t u r y , -

and ww?# v a r y p-epttlsa* t l m m * Tim Don Juan s t o r y soon reached

t h a t ooaotvy tasder t h e i r asuaplaas* t l g®jfa»itatQ m ® perforata#

i n P a r i a by t b » I t a l i a n t rm ipa o f F i o r i l l i ~m e a r l y as 16^7 » 2

op» c i t » # p * 382*

MolaaAy h o l i e r * a t Is . e«ma£die I t a l i e i m e « p 0 191»

Sine® mil doll* apt®. pwfwwames w®i*# largely

improviaat 1 oimX «a t u© porforsianee was. e?s? exaotly like- an-

other, tto.<«p* &r© .of course no &efini t l?« tHBEfca of t t » plays#

Only outl ines or #eeimrios w«f wri t tea down and used as

tjas#g f o r fch® porformarioes, tshioh «w# 10f t fco tlx*

tioo&X skXXX of fch« pax'forsaers, ifeo #ai&lXitih&6 t&* p lo t with

a took conceits and or « n s i a g s i t t a t i s s s *

fh® or ig ina l scenario of I I Comritato i l pimtwm. ( in «*»»««» -mwino^ %»»»««-WEi** ninniiW

Fr&s&e aaXXad J»e -i# f tiirr®) a* i t wat first pe r fo rms

In Pm®§® I s »ot extant* but t&are I t i s existence a sli^Nbly

Infest version of ttM #$eaBirld with typic&X Xa&si indicated*

* Sfi«b®f of F i o r i l l i ' a trmxgm i » Porta* 3&1* scenario i s

given in f u l l by got

*Cb» basic «£ttts&lons originated by SUwe are s t i l l pres-

ent i n i&i* »«wtr i& r but mu&h addlfeloa&X ftoole material feas

to thoao of tnpaditioEtal 6<aaaBM94i» dell* jyrfe# attftamotera#.

I n a comio »«©% Bon Swm* & ser;«®fc, who i s now c a l l e d

on the grounds of h i s youth* The n&xt seono, which Involves

PO» Juan, Duke Ootavio* pantaloon, Jtsl HarXn^tflttn, i s f a l l of

slagKB&X&fe coiaedy* but i t i w M t s fell® dramatic advance of

Don Juan* s discovery of an «j^i»t®®tsfc Tmtweim Octavio and

%M4*# pp . 192*207.

27

h is i s , mad hia decision t© substitute M®»

mt£ for Oetavio* $»* l&».t Include suoh d*?le0s <&s a aook

f ight la fcbo dtarle b®.tw«©a Bos Jiuhi and aplsodiw

such as tli© am In which Harlequin makes so iimwj profotand

bows to ftm&alooa that the latter raws way to ©soap© such

•xeesalve eourteey*

The uaw&l f i i » in «b£6h Don Juan escape froci Dona

Arnrn1 a ehssfcer and Id.lis be? fttttysp-,, the cosaaanaer, occurs*

fh#a?« are several seence in sfeieii Bon Juaa threatens Harlequin

IT Ta» shemM- -mwml M s gui l t us i in *hleh f i r s t Pantaloon

and then th© police attempt to bribe Harlequin to pern1 the

a t f f d e w , MmlMqv&n aeeepts nonoy from the polls© but g i w s

then fa lse infovB&tion*

In th» «aeondl act a young g i r l , BeaaSte* Is fiehlng by

the seashore« Don JUan and fi&rloquln a*# shipsyrecked nearby*

Don Jtmn intaedl&tely begins to sals# X w to te* Be pvcM&aa#

aM tli® couple go off into the HM3® they

are gone,. Jjsrlftfttia p i t i e s the g i r l and says that Ms master

la auefe a Hb«H;£Mt that i f he mmm In ho 11 'im wmiM try t e

wm am Trnmrpifrnm- Be® Juan nnd f&g&lba return# Don jnam

t e l l s Rasalba that he eaanot mrry hop and that Karlequln wi l l

t e l l hex4 trhy» Daa* lftsva* and Harlequin shows Hoaalbe

* lotkg' l i s t of her pvedeaawsara* Then h# tbaovs tb» l i s t i&to

to p i t , ta i l ing the aydiene© to look for the natoee of their

« i » a «ad relative** Hoaalba ttsraws herself into tfa# s«*«

28

A. peasant vending party approaches* Bon i w m and £««&acguiii

j o l a fcho party,. «a& Skm Jims sawtarn o f f $ht InriUla*

© » seana changes. Sea Juan aM Harlequin 000 a « p t i %

cjausol@tsi w i fe a ats tu* of fcha & » l^isa * •*£* Vm

fcte*«st®fitiig tase f l ^ t loa aod r » ft moment jNPttaa&s to be f r i g h t -

ened i M but h.® mom bursta ta t#

to fcha alMrtta* -sM orders Harlequin tf» Inv i te tfc to m^pm#

9m mkmtm fteoapta*

In the t h i r d act Harlequin renonertxtataa wi th &l« nasstor.

Don 3"usm pratands to f e e l paoorsa* Master aad sartaitfe 1®®©1

togmthvr to fetg fav^vaasat of Jupitax»# tout &on Jtam

and, wi fe sa aAroStSgr plaead klak* h i * opinio® of

nora l ia ta*

The tatola foae» suppar i s being pMgMtvwl abmi Harlaqulxi •

mmomcos that t J w # la «.- f i r e l a th» klttihan* Everyone

mslsis omt# «bl3is ®a*»Xaquin s tu f f s hiaualff with. food* tthaa

Bon Item aeaas i s # aavaral lasu l m*® ot t t . la « b i A Ha**-

XjMpla t r i e s to sta&l food fspow t&» tsfcla*

Si® statu® kaoeka« HfcrXequia frigfotanad ami Don

Jus® goas fc© sMftt.&l* goftat na& w©looses him axt^mvmgan t l y * •

gSF,l»^«ia i s forood to sisag aa& drlult: t&a h*aXt& of tfe# gusst*

lfe« two baaqu&t seoaoe w i th tfo® statu© are tisueh. l i t e the ones

l a Tirao* ®0®«w* i s no mention off »p®at«io© on #i—

ther sii@» Haploquin i s l e f t# as i s Sgamiisll© i a S©ltikr»*i§

Boa 3«ao» to ory* flT,.ios gagea |H

£ tar d«»c*yu Sf

«»«*.* «f*

they

ti#L» twitts WNNV*& M&Mttlft 1»59

«, p» wy*

30

1?he«d two Wmmh «ew to&md ia&la%- on 0ll8»*rt<»*9

pieced

Most of Ti*ao* a. feast© plot ia still la thes»

plays* but wife mm addition# sat ftStftTOtiao#* 2h» «baa$Mi

mm Mniltewlliji fewfc Kb* basic pa&toaivam of plot «ai ohOTad-

l w &r© fete sssae*

Is D# YXXliar*«a play Don Juan's fattw*

with liia jPsbp Ms li£»* tout Dob Jiaaa dsfioa *1.3, r#»

stp&lnt.# B«f «3b#tiiRife#ii hiatMlf for Best ftellipp* is. a mm*

dmmrms with Aalrlllo, #to law! veptiXstg Ms Miikis# fb@

girl bls aM cries out., Dora J«i kill a her fattw

Dm pier?* whm be eoiaes to twr aid, M flees* pursued by

Boa Philippe-# Dan »Xuan changos clothes with Ms valet; Fhilip*

fin foe 4isgttla»«

The two aset la a village i» a forest -©fear® Dora Juan

forces a pilgria to «h&ngo clothes with hi»# Thus eoneftal-

i.ng Ills Identity, k© trieks Dos Philippe into lading as Id®

liia sword, &M kills Ma* Stibarking for a fareigb country,

Pom «7uan and Ms valet are shipwrecked near the tomb of Dota

Pierre# XHMi #aaii It t f a i l md *spftsitg repftofcanee* but

ftolliftpin lias dotibta about haw long ttMuw» f£a# m&SMtmt*

will last# fro young shegtaerdesaes &ppmep aM Be® JUaa fsss»*»

ii&tely adtoMWMm i&M* St earriee one of tluw off while

FMZipgyia reeouats the list of his previoue adawai-

tuapMi to the other*

%Gm Lea Latte# &» %ollere« p* ll|JU

31

Bo® Sxmn raturas &ad expresses mmm mamm®,* but this

5K3©& ttooftt pwt8®s« He se©a tt» IxuHKpipfelaa of th# towfe tfaa****

*ning pwiishment frees heaven, but he decides to ftowt swell

ttoe&fes wttb #» uartatieMttile F*a» ttai ©® tint plot

Is M#stt#»X with 7l*sot« mmpt tb*t tts» ImMmmt *f 3m

Jwm*» miming Mm br&4* at a country waiting even** be-*

tWM«k tfe» two tanqpet*, end 44»* etfttu* tries to &m

3Wm to repent aaad la Dorlsum* a plot is sialism

witfe ali it

Mmy of the changes of plot Is these pleye istll b© seen

to is f&Ufem** Jggi J Sg* -Alao, 5o» :fe«t ;ia-

plays Is apppeftehlag the etheisia that be will - dispMf la

goli&retv play# H# Is still a, feeliever* imt'l&ft belted la • •

not sts sng «B»qgte t» p w m t Ms prl<$e*s osttalfltg Ms to defy

God m% the end* A Mat of the fefpoeriaf liiieli *123, -\m an ,•

#&mei& Is miibre* a Sun Juan imy b® mm la tfce wood* 'mi •

mmmsm# mt really eiswere, and pMstag ftii lfn. *&&«& «d«nr

Xa theae two playa «ad Jta ttoe eoeaerio*

Is gMer«l» San asm flaps toetaMMvr Tirso «ad Mi£t»*

fead a» »«rtea« themes or purposes, being designed «®% %•

efttMPtftln* vhleh they did In grent tteefflsrtt* Hiey June •

•sting tedflQf ohiefly »>ae&U3© of their position a® twottftltlen

w«te between. the «ue& sore taiportant vovwlom of ?ir»o end •

ixoii&r«+

pp# 7»»«* m*

Paris ian publ ic that* n$mn M i pl*r* J*j| go*a»^i

F®stia 4« gt#rr® ou i^afoE9g^» i s 1669# Sotls^iid

s ta ted that prorloua&y hia thvater lmt b#«a tte* only one in

Far ts without mteli & play*3"

Sa*£l*p tfean tfel% howeve*, i s 166£* m I r a* * djmi

j # yjia*gig m #§.slgii&€t to wt»t th© ihnhI* f w

th© ©uooess ©f S-^M^pe*# h«B3*»ty &m$ not b®en

suppressed along with M s flKgfcttCf»» m& P®8» jfaia bnA an «•«»

s o r t e r mx&f is# to Wm interferons© of th© jwwi- bigot* wfa©

tuff#-* tEbar© le so ii®ll©mlji« ttmt fcfa.© p&li© was dl&ploaaod*

19a# f i r s t porforsmiae© of I?oat. Juan *»» ©t tho Falsis«

Mofal,. February ! £ , 1665% Soma p*saag®» wlatoh «ff«iu

fn»?e oraittod a f t e r the f i r s t perfoznaaneo, but ffolier©* a

Summers, "Source" (of The Libert ine) , op. c l t« , I I I , 9.

critics mere not «*ti*fiecU #reesure was brought to heoar*

fiuad the play lis witMrami tvam tbft stag® After fifteen per-

formances* Whoa it was rev lwd is 16??* after Mo Here's

death, it was a vers If i©& and tw»sl«a by Thonaa

Cornellie that was- prod«e©<!« It wa# not until 18$}? that the

original P<aa Jubt., was revived at the Qow&Ha Franpala»«

Doea Jtea. * # first jH&Uabad in Paris Is 1608,, tout i**»

mapoua cuts had to be saade to mttgtf the poliee* Tba ©im~

plot* text * 1 pi&ltjstiM La Amsterdam la 1683» let \mtil

1813 w e th® scenes eut from the 1502 edition printed in

Pra»©«*

Because ef the eosqmny* s rte©€#. Be» na# written

hurriedly* and Is perhaps the least regular of ftoll£re* s eon-

edies, b#*14*a feeing in prose, f§hi@ii m a aot customary la

ftv#-*&t eo&edtea* Despite tkia haste, the figure of Pets

Juan is one of Molt&retg greatest character portraits# On

glaxieing over the titles of Holier©* s eomedlee of eharaeter

one eaa see that Moli&re is ummltj co»eera©« with aberrant

types who run to exeess in some characteristic*

aalre are Indicative of this trend* Txm 3fea& is the liber-

tine i» this collection* imfe Seller©*® laelit&as

other elessents sueh m M s idea of le grand m&ch&nt

hopiwe. the great lord wh# is alao a wieked »w% a$d

capacity for evil is helg&tened ©v®» by the virtue* proper

to M s rs®i£#

Woliere* a sourgaa Isav© VMVQP been ®et?abliste<l asa&tly.*

but; again Um jwwsibi l l t les are c lear* i t i s mt kaam» tw

certain ifc#th®r h© ta»w flw©-*g play,. but i t I s possible

t ha t h* did* H» ®&y have known tbe play» of and

Cieogalal» H# &3mm% cer ta in ly teas* tauw or tb« adap-

ta t ion* of &iXibM*t#*u play by Dorisoa Had 9* V i l l i e r a , »i®g#

th*** «*» obvious p a r a l l e l s M plot# Be aleo w t haw burnt

f&stillar with ta» scw^dl® dell* a r t# version of the nlofe.

since h ie cooipany shared th» ¥»tlt~Boi»feo& theater wltSt

P io r i l l i * s tr^iijs# during 16s>&"»5?9» Bacaiss* af t&e Involved

re la t ionships ©©bfe-eaa the plays i t i s almost impossible to

determine what Jfelikr# borrowed from viUch source, but a

S°°d a®©y pa?&ll#&3 w i l l be evident l a the following siasteaary#

pl&y nominally feme©# place t» S ic i ly , but tb# «httv

actors are unalstcto&ly Wmmh* in. the f i r s t seen© Oumj i ,

a squire to Ik* Joan* a deserted wife Do» Blvir## i s epeak~

is® to SgftaftvftU** mm. Juan 's i S H a a t # Utawm f inds i t d i f f i -

cu l t to believe t h a t a saE of Dom Juan** qual i ty would vio-

l a t e the fealy band* of ssarriage by dssavtiog hl» wi fe , m

whom h® has lavished i^rmt a t ten t ions and fo r whoa ii© had

gom to the length of forcing M s «ay in to a ooovent* This

I# esaot ly Unit Boro J t » has done, asd agmavel l* iefoasia

Chumm tha t Don Juan i s l a r e a l i t y :

* * • 1© pbm grand que I s t e r ra a i t jamais port$, w enr&®£, mi «bl*8, an dtable , tm \m

P# 3kS«

h£r£tlqi*d-# qui n* cro5.t a£ Clal# » i &Bf«rr a t <g«l pass# irf# en b&te frrafee* un d*11pi«ti®% vm wm$. Sardanapale,. [qui] f®ra© 1 *&?otXi0 m toute# 1*® xHrnontrunces qu*<m l o t p*u& f a l p e , *t t»alt<» d© btii&v&ft&Mi tout e# *p® w a s - ev&&o&&**

Wtmt i s soi*#* B^asss*©!!® continues, the imrc*l&ge~bo»& eieaa®

aotlilag to M s i s s t ^ ! *ho uses i t f r e e l y ®® a trsp f o r A l l

of woman, froai gpeat la&toa to peasant gl^Xs# This

us# of marriage i s original witli Bmmt®€®m Don

.Juan taay isafo us«cl promises of carriage to gsdn M# #s l%

Don Jttan & smrrtiwl mm is a s*w twist*

that only H@«#s i t s e l f eaj* jmnish s# great

e©»elml®# Kith «& idee 'Which Is of tli# Jwy points i s

&oll&x*e*$ ch&ract er i z&l; i cm: °tfn s«igJi«ui» siee!

©st mis tenrlbl® o&ese*0^

W# must give sobs© cOBQidox»a11 o n to Sjpamrell©' s evalu-

at ion of l i l t ?asstar despite the mlvmM indicated by "ill Ct#3L#.

at Safest a i loup~gar<ou,w alas® the 633>o$ltX«m 1# a&trnfl&ed

jsai*# the flpe&£$&$p$ In adiranoe so that tt isj wcrn&l not be xal»-

*•*

In the ussffe scene Dora Juan adraita t o Sganarelle that , a#

the l a t t e r lias auspec uod, there i s m, mw object of h i s a t ten-

tions and that t» has l o f t Illvire to oMe? to devote h&as*Xf

to bia new interes t * Sganarelle s t a t e s that he does not

, Do® # » « * 1, t* *Hr £f 2>* mohaut* o£» e l t » . p# 15?

3-6

a p p r o v e ol* mid Doa J ium d e l i v e r s & l o n g » o n o -

l o g u s on I l l s cuaatory p h i l o s o p h y * t f a ioh i s a s o r t odp dilftttft&fe*-'

i s a oflf l o v e * I s a f f e e t h a b e l i e v e s I t f o o l i s h t o e s p e c t & i »

t o r e n a i n f a i l t i f m l t o one w « i s u # and t h a t t h e f a c t t h a t i »

pjxb a o t on* « a » m f i w t do@a n o t d a s t r o y ffa» r i g h t s o f t foaaa -

b e w i l l moot l a t * r » T3» l o v e b e h a s f o r o n e a h o u l d n o t iaake

I t a a e a s a f t x y f w tola t o b o e i n » l tes t b a ofe&a*** B&gi&al&g'

a f f e o t l o a h M g r o a t chcura f o r h i m , &M a l l t b a p l e a s u r e of

lov© i t i n efcaage»

On gout© ua» timm'&m? extr&w* m v6§uf*»» p a p o e n t hos»» wages* 1# mo*v& d ' un» s Jeune feawtfcf* 4 v o i r i n J o u p s a j o u r l e a p e t i t # p r o v e s qp* ©n, y f a i t , a e o a b a t t * * p t d e s tMQMjpopfeaf p a p d e s l a m s # t dmi « m p i a p « r X*if®t®~ c-oafce p u d e u ? d*ua* « o a $ u l a psiaft- & r e n d r e 1## a c n e a * a f a r e a » p M & p l + d t e a t a a M s p e t i t e s q u ' o l l f e ncHta o p p o s e , 4 v a l n e r e l e a aajntpalaa d o » t #11# 3® f a i t m jtaBiaaftF # t Ia jmnqm* doueentenlfr oa nooa avona: e n v i e d© 1& f a i r e v c n i r * "

Bu t ouea t h e a o o q p a a t i s taade, t&e:pa i s l i t t l e aor® t o e h a m .

Mm ami fee i s a&traefcod ©Is^asasNi* S© f o e i a h i m s e l f a ecn»*

q u a r o ? ' i n loir# &»A w i t h e s l i k e A l e x a n d e r f o p s o r e w o r l d s £& •

w h i o h t o ® x t # M M s c o a q u o s t a *

$ g a s m » l i # b e g i n s t o r e r a o n a t r a t o w i t h M s vmst®r t a p

h i s &M i i i s moum top a c c e p t e d b s X I a f * * t ro t Boa J o a n

fer«e&8 o f f t b l a d iacon i rao a s d "begins tea t e l l o f t h e young

g i r l h e i s i n t e r e s t e d i n and b i s p l a n a t o a b d u c t h e r b y b o a t

f r o m t h e a e a a h o r e *

A t t h i s pol»& t h e y - a r e SAfeattvqptad b y t h e a p p r o a c h o f

Done E l v t v * , ut io t » s e o s « t o *»efe h@r s t r a y i n g bB*)»a&d*

° l i s l i # r % «£* £ l S e * 'l*

3?

Doa 3>xsm is at f i rs t far an escplanation ©f his

botmrioi?* H® stalls far feist® by ln.aist.ing tt&t 3$mmr®tX®

can ©3q>laJja his bstsmrior, but finally eowrs tip wltb. the «*»

cujbo that lie las li&A f s l i s ©f eoasciei»# about; steal ing bar

fro® a 'mimm&jf, and that even tfoaugh they m» «*© ®Brrie&#

he tmls i t mreiM fee sinful to live witB, !«** Her© f i rs t

appears tbe bgpderifty Tfoio-b hM not l»e«n fully dewlogted ia

any pa?0TiofUs Boa 3>wxu T,afcer in tba pl&y i t assasos even

gro&fcer ireportause*. Elirirs Is aot «Je#si«»t and t&rfl&£e&&

the of H«aY©ft* Boa rTvu&n is not intia-tdafcod a«?3

gosa on plasaiag Ms l i t t le «|NJgiiioit#

In' the m&mA mt Dos bo&t Ims been wreckod asi

his party rescued by p#as«atJi nfeo s$K»a& the pafcole of t&e

region aro«ri& ?&?!#« Th<? psawls are eoorsioiuily Iftgirossed

by the imgttlfieenfc clothes of tho g&nfelsiaeii» Boa* Juan

pFOiipfcly begins to off#!* narri&g* - to two sf the sore atsteme**

tire p@a»at Tbor® a » oo&ic aooo&s ia shich Boa

Jltan play® off tfie girls agaiss-t oacb otfew* ®hen they issiut

that tie choose between the% &sd in v&ieh ttea peasant fSaaw®

of one of til# gipls protests Bom interference* ffal#

pl@&d£tn$ sport is bycslcea off by t&e aara»tv&1 of e w that &

party of horsemen are in tts© j igMiorJaood. aearetiiisg for Paa •

Juaa#

In tb* third act, Bora Juan and Sgpaoralle ar© Journey-

ing through a forest# Sgaaa^ll®* concerncd -m-mr hiM

lack of religion,. aste him wliat he lo#s believe* Xkm Juan

3&

replies: * Je crois que deux ©fe deux sont quatre, Sganarelle*

et que quatpe et quatre soot fault#*? Sganarelle is shocked

by this materialism and tries, sincerely but very awkwardly,

to prove the existence of & supernatural wlif by the exis-

tence of the marvels of nature and the pmmm of aan. B w #

his ignoranee, Sganarelle soon rune to absurdity and wakes

no impression on bis waster#

Despite the tmt that sueh comic wmmimtmmm of a valet

had been eoamon to all previous Don Juan plays, it was this

point of having the conventional religious viewpoint defended

awkwardly by a comic figure of low ranl^who is easily defeated

by the superior sophistication of his saster, that was the

main objection Moll*re»e critics had to his play* Their ob-

jections were not Justified, because there is no hint in the

play that Moliere Intends Doa Juan to be an admirable char-

acter, and the traditional denouement Is certainly m encour-

agement to vice. Also, at least four major characters—

Elvira, Do® Louis, Le Pftuvre, and Doa Carlos—defend the con-

ventional religious and ethical viewpoint well*

In the scene following, the travellers ask directions

from m religious hermit, teows in the play as 'IM Fauvre* Af-

ter directing the fugitives, Le Pauvre asks for alms* Doa

Juan jeers at hln for spending all his time preying to a Ood

who is letting Ms starve, and offers hl« a Louis d»or if he

7Xbld III, 1*

39

will curse. L© pauvre refuse a sad to save face mm ,7wm

gives him the gold piece *pour l*araour da l*huatanit4»tt^

Hearing sounds of a combat, Doa Juan rushes to the aid

of a gentleoan who is being attacked by three thieves* The

thieves are defeated and it Is revealed that the gentleman

1* Do* Carlos, *10 with his brother Doo Alonse is sei.rehing

f«w Dom Juan to avenge the abduction of their sister Elvire,

mm Carlos has never seen the culprit before, but when Don

Alonse comes up, he demands the instant death of Dos Jma#

$0® Carlos insists on granting his a day*# respite, since

Dora Juan had saved his life*

Whent the brothers have left. Do® JUan and Sg&narelle

notice neaxfey the jsagnlflcent sepulchre and momaaent of the

Coaaandeur, «hoa Doa J\ian had slain before the beginning of

***« plaj» Bos Juan treats the sigat with sareasa and orders

Sganarelle to invite the statu® to dinner* The Statue nods

in acceptance*

In the fourth act DOB Juan has recovered his taaw

Powy «hoc5t and has raanaged to preserve his incredulity la*

tact* la several aoenes Dw l w displays his knack for get-

ting rid of a creditor by overwhelming him with courtesy*

Then Do® Louis enters and in a long speeoh entreats his son

to reform his life, telling hist that it Is not sufficient to

rely upon a noble oeuae to escape punishment for aisdeeds, &M

8Ibld». III, ii#

ko

that he must show himself worthy of M s Mm© and birth be-

fom tuey have any meaning* Dom Juan la unimpressed and

Dom Louis goes away threatening the anger of heave a*

Done Elvire, the wife Doa Juan had carried off from a

convent and then deserted, enters and pleads with Doe: Juan

to reform before it is too late* She has decided to return

to a religions life, and her love for him remains only in a

solicitude for Ms salvation* Dora Juan la so far froa be-

ing persuaded that for a aoaent his paaaion for her Is re-

awakened and he invites her to atay the night* but she re-

fuses and leaves*

Supper Is served and the uaual tricks of the gluttonous ,

servant are played. A knock is heard at the door# Sganarelle

returns frigitened, and the Statue enters* Bom Juan orders

a chair and a cover for his guest and forces Sganarolle to

drink and sing* The Statue breaks this off qulokly and very

laconically Invites Dom Juan to return his visit* This ac-

tion la very condensed, as If it were included only because

it was absolutely necessary for the plot*

At the beginning of act five Dom Juan has es&arked on

a full scale program of hypocrisy. He pretends to have had

a complete change of heart and is forgiven by his father*

He tells Sganarelle that such a pose is very useful and quite

fashionable at present* One can commit the greatest atroci-

ties under a cloak of piety and be sure of being defended by

all the powerful bigots* Bits use of hypocrisy was probably

kt

suggested to Molifcre by his preceding play Tartuffe, whioh

was a portrayal of a rascal disguising himself with exagger-

ated piety#

Dom Carlos suggests to Do© Juan that their quarrel be

settled peacefully by Dow Juan's returning to hi# wife Elvlre,

but Dom Juan hides behind his nei&y-aequired piety# Dom

Carlos is not deceived and asserts his intention of gaining

complete vengeance#

A spectre of a veiled woman appears and warns Dow Juan

that he has only a few moments in rtiich to repent# Then the

figure changes Into fin© with his soythe and disappears#

Da® Juan refuses to repent* The Statu® appears and #l&iiaa

Dom Juan*a praise to dine with Mia* The Statue takes Down

Juan's hand# Thunder and lightning break over hi* and the

earth opens and swallows him# Sgaaarelle is left to lamentt

°Ah V »•« g»g®»l «•» gages f11^

This ending, as effective dramatically as it and simi-

lar ones in other plays are, is sooes&at inooriipruoua in

Moliare*s play# Although still popular with audiences, the

mythological loachinery of the standard fora of the Don Juan

legend was already beooraing a little awkward for anyone so-

phisticated enougjb not to believe literally In the possi-

• bility of such events# Moliere, who was not a san to en~

courage superstition, see»s to have been aware of this dif-

ficulty# Use basic supernatural events of the typical Don

9Ibid#, V, vl#

i|2

-Juan pattern are retained la M s play, "out they are dealt

with as quickly as possible so that he can spend wore time

on the taore important matters of character 1 zat i on» It any

be that his company's inraedlate need impelled hl» to choose

a popular plot *hleh was not the moat suited to M s tempera-

ment* Although he was a defender of coiamon sense* the goldea

:asan, and the morality they lsiply, he was not the crude sort

of moralist «&g wotild sayt "Persona who abuse for their own

crlwinal ends liberal currents of thought may end tap being

dragged to Hell by a

Mollfcre was fairly conservative as regards the tradi-

tional pattern of plot and characters* but he made some

rather futile gestures for the sake of the unities, auoh as

omitting the Dona Ana episode and one of the banquet scenes,

and reverling the seduction of pone Elvire in a reoit» Be-

spit© this, the Don Joan plot in its typical form was totally

incapable of subjection to the unities of tioe, place, and

action#

In contrast to El Burlador* is Doat Juan characterIsa~

felon Is more important than plot. Mollere*# Dom Juan Is a

much more oowplex figure than any of his predecessors* The

conoeption is not of a libertine alone* tfoliere*s portrayal

of Dom Juan as le salgnemr a&ehfuat ho?m.e and as a aan

of ideas are integral parts of his conception of the char-

acter«

k3

Like Tlrso*s i>on Juan, Doa Juan capitalises on his sta~

tus as a nobleman* • But Moliire atuch nor® than Tir so depicts

the groat potentiality for evil which the power of sueh a

position entailed* Proa the list cited by Mlehaut*^ there

seems to have been no lack of prototypes for Dots Juan among

the oontesrporarlea of Mollere* Sudden and rather doubtful

conversions of notorious libertines were also common* Don

Juan Is not at all devoid of ehar&c terlst1©s which were ad-

aired In a graaai —ignetoy such as pride, charts, wit, and

courage, but his possession of such qualities only enhances

his possibilities for evll»

Beneath the polished and elegant exterior of a courtier

of Louis XXV lurk demonic elements* Hla seduction of a nun

and his attempt to bribe a holy oan to curse give an almost

diabolic impression* And so does Doa Juan's censnent after

hi s father leaves hints

Eh I Bjourea le plus tot que vous pourre*, c*est le aiieux que vous puissiez falre* II faufc qm ©hacun alt son tour, et j'enrage de voir des perea qui vivent autant que leuro flls»

This pattern Is coaploted by the arousal of his passion at

the sight of Elvlre weeping for his scul, by his monstrous

Impersonation of piety, and by his monumental Incredulity,

But there Is mom to Dorn Juan than a noble libertine

with Satanic touches* Dora Juan Is a libertine who has found

a philosophical basis and excuse for his actions* Ho has

*%lchaut, op» olt»» 171-172*

Hire, op» jsit*, IV, v*

bh

salssed on new currents of free-thinking, Materialism, and

hxsaani tar lanlam, which had begun to aria® la the seventeenth

century, as supports for hi a crimes, Moli*re*s characteri-

sation Is stop© highly developed then Tirso*s, In that Moliere**

character has Ideas as well as characteristics* Tira©« a Don

Juan had found a hauls for hi3 libertinism, too, but within

the dog»a& of the Church, tfcxich Sew Juan rejects altogether*

It Is Interesting to observe the iapact of a smattering of

philosophy on a relatively simple type, the libertine*

It is difficult to formulate Boo Juan* a opinione in any

detail, bee muse he is not really a thinker at a 11, only a

paeudo-intellectual, at beat* Basically he la a sensualist

*feo has adopted advanced ideas because their laplled over-

throw of accepted values seems to give free rein to hia de-

sires* For instance, free-thinking with htm is not a release

of the mind from dogma in order to aohleve better standards,

hut an equally dogaatic refuaal to believe in anything which

might interfere with his pleasures* He has not really thougat

out any of the ideas he lias assimilated. His materiel ism

has not progressed beyond the stage of two plus two equals

four and four plus four equals eight. Hor is his alleged

human!tarianisra any wore authentic* The only incident in

which this elenent really appears is in the memm with r«e

Pauvre when the Louis d«or is given "pour l«a»our de l«hu>-

aianite*n fo Dota Juan humanitarian!as le a device to save

face when he Is bested by a pious beggar# Hone of his other

ks

actions or statements indicate any low of mankind* In re-

ality M a philosophy is a sort of individualistic hedonists

without the usual equal!tarian reservations or ethical limi-

tations#

fh# atheism of Molidre* a Dosi Juan, provide# a sharp con-

trast with, fir so* a Don .Tuan* though a monumental reb«l,

?Irso*s Txm Juan is still a believer* In B w Juan w® are in

a different world, although less than forty years separate

the two plays* The a«oral free-thinking of Holi&re'a Dom

Juan is probably raor© faipertaat in the oharacteri ?.a t i on than

his libertinism* He la a oonplet* disbeliever, not to be

convinced by the most extravagant displays of supernatural

aotivlty* He has no respect for sacred things, for a nun,

for a holy aaa, for the dead, or for the sacrament of star*

riage* His incredulity is his reol strength* It is basicg

his "liberal Ideas" are little more than defense mechanisms*

Hypocrisy is ttie natural corollary for a complete athe-

ist la the seventeenth century. Despite sooe contemporary

currants of thought, the religious element still wielded the

moral force of the community, often against its own best ia»

terests* In a society which took for sincere devotion the

most exaggerated grimaces, the grossest rascals passed them-

selves off as devotees* $k>Xi&re pointed out this situation

in Tartuffe* but was berated and persecuted for his trouble

both by true and false among the religious* Moliere* a Dam

Juan has learned this lesson, and he shields himself behind

k6

a pretence of piety* H®» Ilk© Tirso* s Don Juan, is quite

triuarphant over the institutions of taaru

The women In Rollers* s play have much raore Individuality

than those In Tirso's, although their «naaber has been reduced

by "oli&re1 s condensat i ons « Flvire Is a we 11-portray®d ohar*

acfcer, pathetic in a way, but proud and noble, and unusual

in, her concern for the salvation of the husband who deserted

her# Her willingness to retreat to her convent after his de-

sertion is a great contrast to Tirao* s marriage-seek?ng wonen*

The peasant girls are re .1 peasants, who speak as country

people do*

The other figures are well-portrayed also, though all

pale in comparison to the magnificent Doa Juan* Sganarelle,

although he shows his ggaeloao heritage and the raore Imedi-

ate coraaedia dell*. arte influence, Is no longer a type but

a real figure# Dorn Louis ha*? dignity aaS restraint. The

Statue la almost, as laconic as an ordinary statue*

fft® tone of pat .Juan is somewhat nixed* the predominant

mood is that produced by the overpower i n£ power and cynic is®

of Dort Juan hiaaslX* tenser elements are the conic scenes

conventionally attached to the character of the coMc serv-

ant, and the traditional mythological effects* The latter

produce much leas of the total effoct than they do in any

previous version of the legend, since their crudely raoralia-

ing nature had smch less aigxiio&nce to a man as free of super-

stition as Moliere*

kr

Properly speaking, Sloliare w s not ctopuliisif!/ in t h i s

play, although i t i s by 110 aa&tia ant l^aoml^ Moliapa doe*

not mlm feha chanea to ajcnraaa sow® of hi a f t t w i t # idba&a

on h?r>o<*!*l sy» the wodical profeaaion, tnd tha dual , but ft®**

tiaally, as a oowady of character Doa »Tuao has as i t a «ajoi»

nrvS propar geal tha f u l l and vivid praaantafcion of ia tw®st»

trig char&etara# Tha raao l t is*y jMrodUie* a ? » m l eonaltiatoeB^

but I t s osaant ia l pmxfmm i s s t i l l tha pp*s*nt*tion of a l w -

acter* goltfej** haa don»' t h i s aupex»latiwly wall* Hla Dam

Sunn ist a passion**** AB^IIAM** sophlst iaatad but uncivil ized

anlnal of t e r r i f y i n g p ^ o p » t t « s *

m m m vi

SBJU08SI&*S THE LIBBHTIKS

V tmm seen the geographical progress of tbe Don Juan

legend ft?« Spain to Italy fed then to fwts&#» ft® next

drift is tomrd England* ftie first appearance of typieal

element® of th© Bon «hs&zt theme in England seesis t© have been

Is an dbmmim play* Th* Tmm€w of Ovid* toy Sir Alton CokaIn*1

Thia work, whtoh w&m never performed* was printed In 1662*

Although the play Is not primarily eoneerned with th® Don

Juan theme, it does contain a raacally atheist called Captain

Hanaib&l iti© isnrlta* ft hanged mm to supper* The speeter ap-

pear# and Ha&nlbal ret isms the comrtesy by going t« Ala* at

th# gallows,, where he la dragged away by demons as punish-

aent for hi# erin»»* liaimtbal has a comic servant, Caeala*

Tli©a© elements &r*© attributed to the influence of th© Italian 4>

play jyi Athelato fhig introduction of elements

of tli® Don J ma legend had no permanent iaflwae## and «i»a

the legend next appeared In England It was derived from other

sources*

The legend In Its complete form does not seem to have

appeared In England until the composition of Thoraas Shadwell' •

*Slr Aston Cokaln* "The Tragedy of Ovid," 1he Dramatic Works of Sir Astern Cokaln* edited by Jaaes »at<£3cmt IiO UU 111

2Ibi4»* p« j208

k9

ulbertlno Im Wf$m Jb$» play i s «iftaf fefc«dly on* of fch»

I*mmhp rnwte of a w i f faulty ln*t i t 1® ae-wtrtti*-

toss m^wmmly inlsnmtlag a# ft ts»«t*sat of tb* Wm Tu&n

ftrn m i « of good f i a l l f * S » a

mranl 1i%0* h* m s *t c®,tm catto*#** ftvferld&i* «od

ftt the Sld&ly fwpl#* 8« found * patron In IMc®

of Neasadtl** 2® d^UTM ft*®® Xwjtm ta fHiigg«i?y «>A hmmm

• voe i fmnt FrotiMftaBty as *©11 m petfe Iftoreatai un&aap

??Xlllm ana Ifctvy* Si* literary ^®putafeia-» I t m b aw«sr®Xaud@.<sl

*t pvawNKf; ms& e«*t»ts 'aactly of ttw «nwey « tm&m IH>*

qc*r*i&'wltfe M i l Dry&on» Shadnell haft ggisgi taMftfcl*

aeaso and a gtf% for tbe observation of ooafceapor&ry naonftra,

toot to bad th» fiiNMtt BUtfavtaa* of nst tawaiag ho* to writ#*

El# t»ept;fi©3% #a«*«afe#% ftui vulgarity €IA sot- prevent HI#

tawing m &ml of popular sunnnns on ttm eontaoporary stegt#

Thm 4 Tragedy «** vrlttan* weeding to

Startmll hiaMMlf* .la rafch«r l*»a tttta tlsre« w§#te§« It wa»

fimt pqwatiw©tl »t 0awst a w ^ a ta j\as»* 16?5, *itfe 8Wtta*tOB

a* Den 2ha pligr *** f i r s t printed in 1676* lb* t&teay*

t l m mob !»«#«§# 11 g«a*Ml ftovortt# «»S wre&lnoet in tba rep~

«*t;€®y for imtif ya&ra* For » w r i w l i& 1692 tfa* great Sag*

ll«b ooapoeer lumpy Paroell eoopoaed «aa£* for to# tm

tlx# play* Aft#®* the aiddle of the eighteenth eaiittopy the

play dltM^MMptd from the stugft* but m» awMHMNM by A deluge

$0

of ptafcertM, m M m u , b«rl*ttM# and operettas, m the

saaa aubjeot#^

ftm prlneipal aource of Jfce Libertine wa* not Molten'a

D o m g ma, but the actor Roalmond* a play Jg, SSSflBBS Ef.SllS l£

Pierre, «ru lUtbfel «hteh had been first presented

at tbe Theatre ma Marals la 1669# Montagu# Stwsers has sua-

aarlaed Roaiaond* s plot to follows i

His nlMY & m m with til© desertton of (*oll«re*a Klvira). 3£n» «** valet Carrllle directly lnfowia the ladv of hi a masters tre&eherf* la she f f l W W n W t»_t>*1 be tella her quite brutally that his love is :dead#-3&on in company of two friends he aeelcs a w advenfcur a la a w lands, thus evading the vengeance vt*ieh his eriue® In Seville are about to bring dora ea A gfalpwrwok follows, a&A upon HI® m m m ® .£«* JJJjjf 1* Boa l®n prowptly seduoes two peasant girlUi* f H E S T t o

PM^s®nt#iy fe# &#Xjhi #s# o* sis w earry off a yoimg girl «ho 1» SBBlaaea la 11 •ndln order to effect, this h* ooneslves ttva atroeloaa «j3q« 0f aottias fir® to the ololater* Shea be Is ®»§d by city wateh# he is able to pat ttissi to flight* and they withdraw dlse«fit#d far ao*»afc# to wjJJr their stream* Next be somes to the aoiiwiMaft « the Qosjaiaisder whos 'fee baa Milled but a short tiioe before# with bitter mockery la# invites the m » t m to supper, ana that ftToatsg whilst lie Is drinking with hie two frlends* there la a hollow la«oei% the d©«* file# qpm* and the terrible figure of cold white marble appears aa th* _ threshold* Very solosa mA w y fearful are the punxdh-aenta with which this aMftongo* tvm Heaven thr^tena Don Juan* a U two coapanlona In crime are * 2 » S ^ before M s eyes# but he remains firm and uwboipoA*. »

that he will is hit turn accept the hospitality of* tsfaft sifts -wltbouff & fjtmfiow of JNmif is® wto^lw M » msm* W m m the bowels of hell the voices of his friends cry horridly* lniplerlng him to ropest* Intb to dies' ufiocBwpiWMNi and tsncoistpiarafeiefr. a atoio and a vert** tftVE* eoloaana of evil# almost admirable in the depth of hie wickednesa^

% w » » # "Theatrical Hiatory" (of fhe ^lbegtlM)» 3fce clt>, III# 34-lf*

SvBasBM»ra» HIatrodu©tion#n oj>* elt#, 1* e m i t .

$1

Much off tills is standard stock-in-trade for ft j)oa Juan

play, but some of It Is mm, such as Don Ja&»*a companion*

in villainy and the burning of a nunnery, and will be found

also in ffae Libertine* Other influences on Shadwell* s play

were Cieogninl* s jQ. Convltato il pletra and the plays of

Dorimon and De Yilllers#

Th$ Libertine. although little-read today, is signifi-

cant as a development of the Don Juan legend and as its first

complete appearance in English drama and literature# It is

a very lasperfect work, however. Even a defender of Shadwell* s

worth. A# S« Borgaan, admits that *Bm Libertine is "notable

not for any intrinsic merit but because it represents the

initial appearance of Don Juan in English literature.1^ Ac-

cording to George Saintsburys "It [The Libertine] is an in-

terminable jurable of crimes that are Merely farcical, and

horrors which mate one yawn rather thai* s h u d d e r f h i s pil-

ing up of crimes, seduotlons, rapes, and murders is quite a

contrast to the restraint of Moliere and even to the more

sensational products of tho other French authors.

The play begins with a discussion among Don John, his

companions Don Lopes and Don Antonio, and Don John's valet,

Jacono. They ridicule all morality and religion and praise

2^** 3* Borgjsan, Thoiafta SBmAwII, His t»lf® and gowiaiea*

^George Saintsbury, "Introduction," Thowas Shadwell. p* xzl»

$2

ftature and Reason and Sens# as the Justification for their

crimes. The following speech of Don John la Indicative of

tha general trend of thalr thinking?

nature g&m us our Senses, wtriofe we pleas®* Hor does our Beasen war against o ® Sense* By Uatupoa order, Sanaa should guide our Reason, Since to tha alad all objeets Sanaa conveys* But fools for shaddows lose substantial pleasures, For Idla tales abandon true delight.

And solid Joys of day, for erapty dreaas at night*«

Here as in countless other places in tha play J&eomo reson-

stratea with his mater, but hla remonstrances are of an en-

tirely different character fro» thoaa In other Don Juan plays*

Jacomo haa no sincere ethical purpose. Ha is only afraid

that ho will he Involved In whatever misfortune hi a master* a

excesses lead hi® to*

It soon becoses evident that these people are accom-

plished masters of evil* Thalr character la lMtoat®d by

Don Antonio's admission that he has gotten both his two sis-

ters with child, for as he says: *» • • they were lusty young

handsome Wtasebes, and pleas'd my appetite* Besides I sav»d

the Honour of the Family by it? for if I had not, soae body ft

else would. But Don John Is not to be bettered* for he ad-

alts to killing his fattier for withholding aoney and preach-

lug morals% killing Don Pedro, the Governor of Seville,, for

^Thomas Shadwell, *fh» Libertine,1* The Couplet# forte of Thomas Shadwell# edited by Montague S * » S # iff,''

8lbld«» p. 27,

S3

withholding hl3 alater; robbing churches of plate; and m -

lahlng nuns*

The others having left to continue their adventures,

.Xacomo converses with Leonora, taho loves Don John although

he has abandoned her# When CTacocao reveals the full extent

of his Blaster* s perfidy, she faints, and In an extremely ob-

scene passag®, Jacoao considers the mmas he wants to use to

revive her* She recovers her senses, however, and Jacorae

suggests that since she has lost the master she ml^it sub-

stitute the servant as lover. Leonora is greatly offended

and leaves*

Th« three libertines appear again and boast of their

several adventures since they have seen each other last*

3on John again bests thera:

P* But mine, my lads, was such a Bape, it to Registred, a Noble and Heroiek Rape* X># Lop* AhV dear Don Johnl D« Anto* low m s it? 0* Job. *fwsa in a Church, Boys. B« top# Renown* d Uon John IP

Hits exawple will se<»ve to indicate the general teuor of the

dialogue* this sort of thing is ao frequent and exaggerated

in the play that it is difficult to take it seriously rather

than as aere burlesque• T?ha first act is concluded with a.

scene In which a lover, Octavio, serenades a lady, Maria#

Don John kills Octavio, enters the lady»s chamber disguised

%b.id^ p# 38U

5k

as Octario, possesses her under this guise end Mils her

brother ifeea he discovers tbas*

In the second set Jacotao admits Leonora into P®» John'a

house and conceals her that she may hear proof of his guilt#

Leonora reveals herself when she hears Cos John confess his

nlsdeeds of the night before. He is very blunt and harsh

when she reproaches hia for his infidelity# ishil® they are

talking* six troaen* all clal»ing to be wives of Don John*

enter# They wrangle among themselves and with Don John* Don

John begins distributing Ms wires botweea his companions

Lopes and Antcmie* One of the women stabs herself rather

than submit* Since Don John has tired, of all the women pres-

ent and it would be impolite for hia to allow his friends to

radish alone, he sends Jacoao Into the street to bring back

the first woman he nests# It happens to be an old crone«

but Don John keeps his word Ilk* a gentlcraan#

Meanwhile, Bar la t dressed in oian*s clothing, has had

Don John's house surrounded by a band of braros who are to

execute her revenge# Don John and his friends disperse the

bravos and prepare to for another country in to

escape further persecution 'for their misdeeds# ' A ghost of

Don John's father warns them to repent# but fcljey ignore hin#

In act three the rascals are shipwrecked on a lonely

coast# They are rescued by a religious her ait shea they

Immediately insult by asking hio to serve as procurer for

them* They proceed inland to the hosw of Dan Franelsoo*

where Don John Immediately attmspts to aeduee their host* s

two daughters, Clara and Flavla, mho are about to be married*

Maria, still dressed as a wan, and L&mom have followed the

fugitives, Maria out of desire for revenge, Leonora out of -

love for Don John, whom she wishes to protest* M l ® rest-

ing by the WRyside, the two are surprised by Ant onto and

TjopoR who Intend to rob the one and ravlah the other* Tbey

are driven off by some country fellows*

In the fourth aot Don John* a 8lan&tctitatt8 oaapftigErfoi*

the two sisters is interrupted by the arrival «f Wsrlftf. who

reveals the true ehar&cter of Don John tad his eonpaittoni#

In the resulting flgfrfc, Maria and Don Praaslseo as*® killed

and the prospective bridegrooms of the slaters are wounded«

The scene changes to a sylvan setting occupied by shep*

herds mad shepherdesses * The trio of libertines and £feeot»»

enter aad Imraediately s#i«s some of the girls isd sales off

with thest* Jacoeo is caught, however, azid the shepherds are •

just on the point of destroying his hope of offspring for-

ever, when Don John returns and aavea him*

In act fire the libertines eat fire to a convent and

attempt to carry off some of the escaping nuns* They are

apprehended by Guards and m m to the chureh for safety* Here

Don John is greeted by the ghosts of his pri»eip«£ victims,

who serve the reguea with glasses of hot blood. A song of

anvils is heard and m e statu© of Pedro asks the» again

to repent* vmea they refuse, thunder ia heard and Don Lope*

56-

and Don Antonio are swallowed up# Don John is still defiant#

it thunders and lightens and Don John sinks eeroad with a •

cloud of fire.

Although this pla y is a veritable hodgepodge of ©rimes

and obscene boasting, as even the above brief etseaary will

Indicate, it does contain, under layers and layers of raiaee*

eaaargr iaoldent, the basic elements of the tradltlocMCL t n ^

matie for® of tts© Bo® Juan legend, Hi@r# 1® fee central fig-,

ure of a master libertine accompanied by a coasic serv-

ant, runs through a succession of adventures in seduction,

murder, and rape, to be brought to punishment i» tha end by

the statue of one his victims# Although clouded by rearrange-

ment, additions, cmd an accretion of milgsr detail* fee * i a

incidents are, in their basic essentials, already fasti liar

to us. ISaere are the soduction by disguise and the murder

it necessitates, the appearance of a w&nai* who wants to save

Don John even though he has deserted her, the flight by sea,

the shiporecfc, the confrontation by a religions herait, ttui

seduction of two country girls, and the banquets with the

statue*

are the main characters totally tssfKslliftr*

Jaooiao lias many of the usual character! sties of a s«*faat to

Don Juan, but he lacks the ethical purpose of many of them,

is ttofc aaost cowardly of all* m®m$ incidents is which

$ m m m is forced to continue to serve his master, in spite

of M ® fear of being involved in itmfcever punishment his

SI

master a»y receive* are m repetitioua as to produce nothing

bats acute boredom*

Don Antonio and Bos Lopez are merely reproductioi%ln

miniature of their leader, but there la SOB* differentiation

la the baaie notivation of the woman charaotera, although

thera is no really skillful aaytfe©» the

play* Maria recalls Tlreo'a Doaa jubr* but differs hay

la- btiiig »otl¥at®<l almost entirely by a desire for revenge*

uho retails Elvira and Isabel** xwwMftlas' th* far*

» r in her eojwawi for the welfare of her aftdu&ey* bmt haa

not hay religioua oonaami# S » eountry girls rasall the

MUMUtk)} girl* la Boliare and the seenario# aaft Tlrso* a

&s ALWAYS* BOB John is the »oat interesting ©haw^t®!* -

in tha play* Ha haa none of the polished and aristocratic

air of Den Juan* His »ffishs»ss moA ruffianism

ara open for all to see* There Is no subtlety of chax»aoteri~

nation in hla portrayal* Hla Isfds and words r#ir«al hla

n&tur© plainly* Ha has pioked t# sons sMa an& #ads of ooo-

t ^ « a p | phlloaophy to dofend hla aeticwi#* but tt&y add lap

to little more than that i*atrure tails his that- hit sn&ftse**

should s»nr« hla *e&sea«

Don John* a crimes aro store excessive than those of any

of hi*'py*dMaas<&M* He lm» boundless delight in a omtinunl

aarlaa of seductions, 'xgpaa* sni other ou&Mtgaa* Don John

departs aometfhat from th© usual dor $m» ts thia

M

i a that woaan la not hia only go*l» He demands a constant

«uo*9ft*lan of a l l forma of eeanraptioft* B* I s * f igure ©»**

thy of Be Sais- Miovelf» a»ft Shadwell may be said to have tb*

hoa©®* of mtlftfpatijatg J& IMJOB Marquis by a hundred yes^s#

The assajably of horrors which eoastlfcutes Bie Libertine

la interest ing fo r i t s excesses, but i t i s not eonvinolng

draa&tleally# The whole work i s so overdone m to approach

the fMiemlcma* I t s WEaggevatloa ia a burlesque to o f f s e t .

if not i a intention* $bftd«ell claimed & MMPSI purpoee f o r •

his play, syg did aoet Restoration playwrights wren fo r the i r

most o&soene produefcions* but the iapresftiieii i@?ifed fro®

so mmh accumulated monstroueness f a r outweighs the revenge

inf l io ted by the statue*

Although Shadsrell* s play i s M. Ixsfceytafelttg essay l a ex~

oeaa cad sadism, it is rea l ly a f a i l u r e as- a play and aa an *m»

bodisent of the Don Joan legend* despite i t s original popu-

l a r ®m@ms# That I t was a dead end f o r «sy s ignif icant fwp»

thor doirolopiaent of the legend la Indicated by the dreary

mass of travesty and burlesque of the then* whleh followed

i t cm the Sogliab stage*

CHAPTER fll

THE B01 TOI FHOE SHADWSLL'S lg| gggftfllg

TO MOZAHT'3 DOH &Igy*

Ff« titm oppftarft&ee of flt» E>lk0rti&e !» 167# to ti»

first pavdtoMftne# of Mozart:*® gog 01<Mraig»i la 1?§? tlwrr® « •

» dearth of new varaions of tb» Sea J'ttati 2*geiiA# Especially

laddtag m m mw1® of say urttsti© velw# Stela period &£

o w a tesiilrea: jnMV* jwodwod rauoh lass work work of «n

IttEarlor quality than the forty*fiv« f w m foIl#wftig tt»f>

publi«*tioa «T Ytrso*s Si gwlft&op J® W i U » Is l£30« Sh»

original letpetua provided by & • *pp*araiio« of El

had w® dom« Si© tfcuww itaalf was still pognx&NF la tb«

tlieater and sifch tb© poople, nfeo floekod to s@e it as alaays,

feut tixe la good as it existed then Ijad lost most of its ap-

peal to dreaafciafcs for oao m s ® or anoth&r* It was no

laager i»telleet*»lly artistically resptet&ble* Uj» pr«-

*allS»g attitude of the @t ife#»sta» eeatury I# ta&lafttwd by

this oxtr&et from Ooldoni's Mfraolrw

To«t 1® nondo coimott e-ett® aiauv&is* Flee© espagnolo* qiM» l©s Italian* «jjp®ia#mt il OoOTtt&fc© 4% Pletra, at laa Frar ois 1© f atta do y 'ar''

i'"''""m''''''°> jr# l»«i Italia, awe horrew#

®t J© » pouvols pas eonoovoir eatte fte» a volt pu s® soutomir pendant si long-teas, afcfeiror 1© rsomde «n f#ttl## «t tedm X0B 6aX£»«a d*un p&js po31o6»

Les' Com#di©as Italians ©a 6totant Itoimfo ©UX"-a&ness et solt pm plaiuaaterl®, solt par ignorance, qu»lquoa-«ns d'laoiant qua UAufcaur do Faatitt do

60

avolt oontraote un engagement awe 1® diable pour In acmtenir,

J# n*aurois Jaaftlt aonge a travailler aur eet Qii*f*8»? aals *yast appris oases a# francola pour 1* lir®p et voyant qn© Molifcre ®t Thoacusi Come i lie s'to Stoient oeeup*** j*entrepria auasl d© regale? * Petri* de ee aw# sujei* afin de tenir parole au diable av*a un pen plus <1© deaenee#

II «st vray quo J# ne potwoia pas Xul *onner 1* mhm titre* ear, dims * la Statue 6» Goraajandew w» pari® paa, n© narehe pas et ne ra pas aouper #® ^ ' ville; |a X*at intitulfce Don Jouan [ale] , combs Mollere, en y & J cm tan t, ou la

3m orua nelleroir pas supprister la foudre qui eeraae Dob Jouan, pare* qu»l*hairB» raeohant dolt $tre punt | mis |@ a6aag*ai ©et ivfocnmfe de jsanl®r© qui ## ponpraifc itre un effet Iwidiat 4Ee la colore de Dieu, at qu'il pouvolt provenir miml d*un* eorabinftlson d« oausea socondea, d!irig$es toujour® par lea loix da la Providence**

ISas reason tor thia decline of interest In the Don Juan

legend seena to be fairly clear* In a eentury of enlighten-

ment and rationalism# shen atone guests were no longer taken

at faoe value, the legend as it existed then «eoM not really

be taken seriously# Since the then® in its typical drasjati© .

tmm could no longer be regarded seriously,, it w i looked on

as mere enterteluaent for tbft rabble* Pew draaatiata of any

conaequena* worked with the legend during thia period, and

the legend did m% com© baek into vogue wife literary «en

until fee toaglaniqgQff the Sonantte movement*

The popular disaestlnatioa of the legend did eoattssu*

during thia period, however* The average «#ea

to have h»l no eoagmnotions against the elements#

-Quoted ins Alfred Einstein, Mosart, His Character and Etm Work, pp« 1*3 4*35*

61

Various adaptations ana translation* of Molifcre and Be flllters

appeared in Holland in the latter part of the nineteenth aai

early part of the eighteenth centuries* German translations

of Mollfcre and De Vllliers were performed and printed In the

1st© seventeenth and the el#iteenth century*2 ta the eight-

eenth century the legend beeasae especially popular In Austria

and Oerofezsy In the form of puppet-shows given at street fairs

and. market places* Some imitations of Cleognini*s Xl Convl-

tfcto dl pietra app®aracl la Italy*3

Goldoni*s treatment of the legend, Pom Stow&ftat eactrie*

o sia 11 Dissolute* written In 1?36, is one of the few in

the period by a dramatist of any note* It is obvious that

he disliked the subject, however, and his work Is interest-

lag mostly as an effort to "redeem* the Don Juan legend from

what he thought were its grossest faults*

Ooldonl*s attest to "redeem" the legend is indieated

fey his rearranging the aeene of Don aiovanni»s destruction

so that It could be attributed to natural phenomena, his

having the status of the Coasaendatore built before his death

la order to avoid the i&probabi 11 ty of Don {Jlovannl^s dor

countering a post-mortem statue so soon after the Comraenda-

tore* s deaths and the elimination of the usual oooio serv*

ant* These changes were evidently designed to suit the play

2Sunttrs* "Introduction," elfc», I, cxxjcvil*

Kftqp, "Bibliography,* 0£* olt*. pp* 221-229*

awl mlf two ot&sr of my txapavlmm* mppmm®d 4m***

tfeft lopO*** It follows fck© laeudltl<m mMmr tt&th£v&Xr «*»

In lfi% is

tftnt vsvslsns Jjs tMs £ow* appeared until Mfetarfc** ~>>on qtp-»

ftwift is BatfXfcvr tqr WC iliiir tlTUI*

Braa (!?&)» C1T77)* Albert ini (373b)* «ad oth**s#

jsst toy Oluok appsars# to l?6l# -IJ§ LF3F fin op»ra A&LMT

XX €#f|igS.'fcB>feq= 4i vlt3& ft !£&?*&&& ftjp &£cnNta$si. BerfcatJ

last M&lifiwtp, tout wltfe s«s» variational It was «n tbUr Xl»

tfe&t i#s<«»s# lift Ponfc# relisd s&isflgr in wMfcitsg £b$

t«st ahleti Mscsrt sst fts 3pa» Olflfwmi#

63

In a sort of prologue to XX Gonvitato dl PletaMt as

Italian opera company touring in 3errafcny discuss the bad re-

ceipts they Jiave been getting* The stage manager suggests

that th*y give XI Convttato di Pietra* all regard it

as rather old hat, but the manager says one can never tell

what Germans will like* The singers begin to be attacked

by an epidemic of sore throats, but a threat to withhold

money produces a wholesale «ure*£ The plot of the opera

proper ia almost identical with that of SToaart»s Don Giovanni*

except that la the latter mm of Boa Giovanni«s victims,

Donna Xiisena, is oaitted, and the action Is somewhat «ore

lengthy#

During the period following Shadwell* s lb* I&befrtlm

and preceding Moaart* & Don Oi»fmai, tho Don Juan legend

remained successful in popular extravaganzas and in opera,

but the unreality of some of its typical elements had tes*-

porarily blighted, due to the prevailing Intellectual cli-

raate, any further intellectual or artistic development*

^Edward J« Dent* l£o«art*s Operas* A Critical study* second edition, p. 7 — — - - - —

CHAFTER Wilt

iiozAaap»3 bos m

ffca mm ««n%tu?y wrslon of the Don

JU&n logons# «.»<! psrlmps the gs*#stest of mil, artistically*

Is io»»fc*s mm Qlovarai» 3)a» ease eoaposar* s Jgg» Kozgo fll

Figaro, *hleh toad »siiwfi «ly alight mxmma, in

w b porfonaed in Prague In fell# winter of 2?86 enor otuj

ouce©ss toy the xtmllail campmij of Sondini* i W P l viaitod

Prague ia January, 1?&7* at the Invitation «f Boadittl* dup*

lag tb* run of Figaro and *ocopted * «onat**loa

to {MPoduoo another opera fop th» following yeai>#

It Is generally m&wmd that Lorenso Da Ponte, a® Ital-

ian Jew mho had b##fi Bosfti*t*s librettist for Figaro^ my@*»

geatad Bon I w as a aubject for tho op#i?m*

Da Ponta relied heavily on Bertatl** text la writing the li-

bretto fax* Don Giovanni* but he greatly lengthened th© «•»-

liar test; am! v*»«rot« all of It in a amah tmm literate

faahloa* Oft Ponte tas evidently influenoed also fey the works

of Mollfere, Ooldosl* and perhajie Tlrso* m the vh«lftr£t la

•a. v®ry effective libretto and well-smited to aosart*a inusl*

m l ldioa* although Bst Ponte « i hMipored by imflng. to aoa-

struot the libretto in acMXxrdaoea wife Mi® a«iw#iiff- of

Boxtdinl** company# Ho also fead aoia® difficulty in drawing

65

out th# one-act l i b r e t t o of B e r t a t i t o f u l l l eng th , and aa

a r e s u l t sone of the a c t i o n , ©spec ia l ly i n the f i r s t par ts •

of th® second aet# i s composed of ra the r confusing in t r i i ja©#

ffe# l i b r e t t o of EKm Giovanni was ready i n a very shor t

t i a e i n sp i te o f ttos f a c t t ha t B& Pont© « s w r i t i n g T>» Arbor*

d i g l ima fo? s tar t in snfi AaaaaSt Re d<Ornmc f o r S a l i e r t a t i tm

sasae t l a f t * Mosavt began composit ion to A p r i l s aad. f l n i & t t A

i n September# f t » f irafc•performance ims divert October 29*

1?87. The Pragiaera ware again e n t h u s i a s t i c

Among th© audience a t th® f i r s t Prague performance was

th# agiisg Cmmnova* That easaawfc nay t»p© mom hand i n the

f i n a l version, o f th© lias temm au&gested by S » d i a -

00wry # ssaottg h i s papers a t fee nearby Chateau o f d«6 vftua#

ha spent h i s o l d «g## o f a d i f f e r e n t ver&loa o f th© sexte t

i n th# second ac t *

H » a P011 siowwuif was f i r s t perforated i n Vienna, i n

Bfay* 1708, fsoae nnr a r i as tmre added or aufet t i tu tod and the *

f i n a l comic scene isras omitted# F i f t e e n performances vsr«r*

g iven betvreen Kay and neeember, bat the I t a l i a n s t © tas te o f

th® Viennese and of £&Q>e*<or Joseph I I was not g r e a t l y pleased*

Th© opera d i d not appear a~,ain dur ing Hosart* s l i f e t i m e ex-

cept i n one performance produced by Schifeaneder i n 1791 i n

a German ve rs ion which g rea t l y exaggerated th© qokIo « ! • »

ments*

Tha over ture begins w i t h t t » s<wfe» chords t o urM-eh th®

Statue stakes MS- entrance i n th© banquet scene* FHIA l a

66

f o l l o w e d toy t h e themes which accompany Son Giovanni*a g r e e t -

i ng to- t h e Stat-ue aad Jtapoffel leta f e a r of fee a p p a r i t i o n *

3&oa eose &h@ w l i € x*una by f l u t e s and v i o l i a a n h i e h aa**

coiapany tha warning srpoken t o Don Ctlovanai by t h e S ta tu**

ftse appearance l a t h e o v e r t u r e of thsjaea which app*a? l a t e r

i n t h a bayewpet s u g g e s t s a p^o^seMia t ie con ten t* bu t t h e

g r e a t e r p o r t i o n -of the o v e r t u r e i s d e d i c a t e d t o t h e deve lop-

ment of t hanes whioh do no t aggxa&r aga in*

S iaaa mm plarfc of Oor* Giovann i . a l t h o u g h r a t h e r i n v o l v e d ,

i s p l i a b l y t h e fe#at~Jeaam of a l l tfea v e r s i o n s d i sousaed I n

tela m m j B i t w i l l , pavfc&ps be s u f f i e l e n t t o g ive ho*a* in»

s t e a d of a »ora ex&endad a n a l y s i s , on ly a b r i e f sxmmvj, w i t h :

i a d i # a t i « a off this p o s i t i o n * of Hi® ©M#f aa?la»#

Aot 1* Sees* 1# L e p o r e l l o i a pae ing bwsk and f o r t h 1a

t h a g a r d a a of Dodm Ansa* a ha*»aa# l a t a a t n i g h t * He coa -

p l a i n s of k i s m i s e r a b l e l o t , do ing aeufery d u t y afolXe h i s »©**'

t o r ansusas bias-®If i n s i d e ( i lo t te e giorno}* Suddealy Don

Giovanni rmfoea f f ton fee house gferugglSag w i t h Botaaa Anna*

who i s t r y i n g t o d i aaove r h i a i&ao&l&y* Tha O « m e n i a t o ^ #

Asm* a f a t h e r , e n t e r s » Anna rats baak i n t o t h e houae a i i t h e

Coisaondatore and Sua CJiovaiiaf f i g h t * The ^Miaad&tiw^ i a

k i l l e d s M Dos CStovaisxii i M L e p o r e l l o eseape# © m m Anna r e -

t w wi th has? flan&£ Don O t t a v i o , n&o t r l # ® t o egafapfc h e r

and . swaps t o i^vesg® her- f a t h e r * s da&th*.

Boaaa 2* fUe aaest a t amisg Don Giovanni and l A p a r a l l a

ra©ot Xtoaaa E l v i r a , a fo rmer oaa<|ueat tHu» s t i l l lovea Mm

67

SiwwsaA aisd I# r#ll$witag Ma ( i h t ehl a l die* «&!)• Don

Gio?mrai ««tap*» while tepowllo Am® hm the eafcalog of

Ms » s f e » « s adductions (Ua&aaina 1 11 catalog©)*

Se®u® 3# A peasant wedding party approaches* Boa

Criwaiml than to hi® palace* XaporelXo 3aa£ft th&

pe&s&ats off #»§ a t ta ins to the feridegpooai iste.il® Don Giovanni

stakes love to ZerXiua, the bride (2& e i darem la man®)* ®te^

ar® lst©rmipted by BlYl*a vim warns Zmlim of the !>on« a

f*&th3»«i»»ca* B s m Ajsaa «ul Dob Ottairlo appeal* *a& M%wlm

to1!®# t© w » Anna against Don ftiommi, but Giovanni p » -

tend* Blirlra in nsd a&& lead# her mmj« 8fe*«pfb»l**i» tern

recognises aioranoits t t l e # a# ttiat of 3mhp attaetee? (Of sal

flfei X*ona**)* Aloft® m Wm «t&ge Ottavlo «iiig» #a a r ia

fel* love tm Mmm {DaHa mm pa©@5# Af t e r a l l tb»

o H w tofiw# l e f t tfa» stage* Dm aiovannl «mt l»&por-@llo *e-

tunw Ctimmml gives X^porello lnstmaeMom coneeralng Wm

ftuuft to fee prepared foa* the peasants (Fif»h»han &&1 vino)#

Seen® 1|* OutsM© Dwt G iman l»s palaee SMLIml %#gs

Haaetto* s pardon f o r » 'gl##t tag him en tluiSjp weMiug- day

(Batt l , fcatti). Don tfiownl leads the l » inside « t e i . the

ba l l 1* i s popegrfeuu Donna A i » f s i r I m # stai. 'Ottasrlo a r r ive ,

wolfed ana vowing revenge ©u Bos Gioveant* Ssparello £«*»

Tit** t t »» to «om» la#

Seen© 5* ®*» baH t s in progress* "She three asaaks *a»

t e r and aw weleased toy Don Giovanni* He di«w ZftpXinat into

M

anotkes? room* lias* acpsaas are Heard* f&a masks d w t a n a

DOB (Uovannl, FEAT to M S K ^ H to mmmp® «it&

Act I I# Seane 1# Glowimi and X^porello arcs outs Id©

Elvira*a window* Xjeporello, dlngetisiad a® Don alovanai , 1#ais

Elvira away so that Giovanni ©an serenade Elvira* it isaM# Af~ •

t i t Boa S i t f a m i Ban sung M s aerexiade (0ah v ien l a l i a f i aaa»

t ra ) f Masatto enters with a Mud of armed peasants . Disguised

as Don, siiwaisai d i s a w e 8a#*tt# and bm%s MB#

Zerlina ©«3@s in and console# &i* (Vedml, aarin#)*

Seen® 2, l^poral lo leads E lv i ra in to a ecmrtjard «fa®3?@

they meat m m ami Ottavio* LeporellQ ravaal# Ma iden t i ty

to escape tiws revang® they vowed against M s master*. ott&vi© .

has anotlaer a r i a ( I I sdo tegoro) as does Elvira (Ml ti*ad!

quell*alsa lagjMfcfc}*

Sease JU Giovanni and Leporall© ateot i n a e©i»©t©ry#

«fe,©®»© they discover ft statu® of the 8<NNMKai&toaM« Don

©ierraimf test to# tbit atatrue to dim»F# and la accepted#

Scene I» Anna* a Qttavio urges her t « starry

hl» # but ska iaalatet ©a delay {Hon » i d i r )*

Sees® 5# Dou Qiovanni I s dining alone in b i s palace,

attended by Leporello and h i s pr ivate orchestra* Elvira © Jes-

t e r s and bags MM to reform* but ha r e fu se s disdainful ly#

fb» Statu© of the Comandstor© enters and bids Don Giovanni

repent or meet h i s fa t#* Don Giovanni vvfMMMi and" i s swal-

lowed up by while tApttrelle crouches under the tab l a •

let £+*&• fh« pamix&ng. principal* ««&«* mid point th® moral

of th© story* in tin?®© li»©s#

Although i t I s neoaaaary to b# f®nil£#i* with the plot -

of fcha op#f»% ohar &o t e r i sa t i ©a if pt*eim®d as- touch by the

8ual& fug fey the f l a t # Bon Giovanni ha# asftsj* of th® i n n ^ •.

teria&t«Mi of Ma but a&a* sosa® variat ions

nhieh roaTalt in a. ttsMpsa t o t a l iiopraaatoiw B® has pes&aps

th® moat c&paeious appetita fo r wcaoen of a l l tb» ©0» Jftttoa*

Lepor»llo*s catalog 1ms 206$> antriea# «ai Don Olovaasti ta

a t i l l & young iu$»# Sis usual taehni<|ti& S# mot that of Dot

Jtean or of Boa John, Kxeept f o r tb» a f f a i r of Soma tea,

vhioh a©©as aot to b© typieal of Mia, Ms method i s that of

«spl«sy£iag Ms iEsaeas© ahforai and v i t a l i t y to wsScing h is #h-

jacta love hla* which fee had ftHUMwiad in. doing with Elvira

and would have with Zerlina if ©i»waH«s®#s had no eaused

her to rea l ize hi® true sat^s*©*

a .# has i s ©f Bon Giovanni*a charaoter i s an Jaseuge

Sole de vjig** »v©r iMtroad «agr roatrwiat* Ha

has Mi lawns# #aptoity for eajofaimt of «i#io# food, drink,

wenon* This i s vividly expreaaed i s h i s aria. Pto^*lia» d&l

vino* He aaaa no reason tfay h is pleasures should be Ha l t ed ,

and he has borrowed aoae of 0s® Juan' a amorous philosophy

to support his- aeticmas

'I tutfco mmQxmt ©hi a ma @©M- # 1* a l t r e # erudele; lo» efee i s me »»%o a i e^taso seat l* s@iit% TO* b&m a tu t i e $ua&te$ la donne poioh# eal#©-» to ncra £1. mio buon natural ehiataaao

'olfgaag teadeaa immrk# &m Giovanni, p* 363*.

n

Don Oiov&nai Is the neat ftra<xpal of mil the Don Ju&m,

amoral gather than Imora l , boeaus© he 1® less of a rebel

than any of tit© e tbaau He lias no mnmims s u a e of pafealt*

l ion Msisolf, and Is to# «agro«s*£ i s his plMurwes to glv®

the mtfeii? a thought* Ti© Is sonotines on®!,,. as In the de-

ception he allows to- to-© pvaoticed on Elvira, hut nwaar fo r

the ple&auva of being ©ruel* S© uises h is position ** « noble*

nan to hi# «Mi, but he i s m»% tfe* heartless Boaster

that Dam Juan £% his ftriLatoavaile «fe#Pior» Ban

GiOTaimi i s genuinely sorry vfoen he i s faroed into the dual

with th® CkMM§xita.taE<e» as h is *|«cralfttloitt0 of t®*

dioatoe*

Bon, aiovasml huss t3» ©oarage itaoal to a Don Juan. Im

the cemetery #e#s® to® i s mmm4 and MMHfeftt perplexed, but

ho pasmlets in his invitation and iswedlately goes off to

arwuigii f « the ba»p®t.» l a the mxt smm b» ha# ooqp&eMy

ptowvv&ed h is eoapoattre ©mi has seemingly forgotten abotrt; the

Bts&m and is eating and jesting with Leporello* I w s the

laa t rewnittaMiaee* of Elviva hmm m ef fee t on hi»» and he

replies in tbl* veinj

fiir&n 1© fa^nina* Viva IX fewm vlnol Soategno ©gloria ]>ttwsnita#

Qa» -of tto* wo*t interesting things atest Don Giovanni

Is that ttewigh the jpowar of nasi© aad sane elaaea&s of the

*£&&*» P* ^

n

eharaoterIzat 1 on, he has feMHt placed on sueh a plane that he

exeites no resentmont on the part of the spectator# Con-

tributing factors are perhaps the fact# that he n e w com-

pletes a seduotion during the course of the play, and that

almost all the usual ethical and religious discussion be-

tween mater and servant has been eliminated. Mozart la ttsss

able to eaqpress without moralistic ccaapli cations the pure

essence of Don Giovanni's character# »Efae Statue's revenge

then comes as a dramatic counterbalance only, and gives no

iaqpreaslon of moral vindiotlveness# Don Giovanni la nearest

to the popular conception of a Don Juan *bo is envied by all

sen and desired by a l l women#

Mozart and Da Ponte have also achieved the best Indi-

vidualization of the worsen. We do not lsnow Donna Anna* a

m m ! feelings* but he r outward expressions a r e all those of

the attitude of' outraged honor which are required of her by

he r station* Elvira Is based largely on Moliere*s Blvire,

but Is soaeviiat more middle-class# Zerllna Is a perfect

peasant, » t t oo Innocent, not too worldly# Don Ottavlft Is

a notoriously Ineffeotive character# He exists for the

lovely IWtUi sua pace and II alo teaoro» the latter of ich

requires amazing teehnleal resources# Leporello Is an effec-

tive comic character i as11on, with the typical characteristics

in mrjlag degrees*

Musically, no ouamary $a» tales the plaoe of an actual

hearing of Don Giovanni# The opera la rather advanced in

72

for® for the eighteenth century* fhe typical divisions late

arias, enaerobles, » M recitative remains, but the process of

amalgamation Into an uninterrupted flow of music Is in evi-

dence in aooe sections which are free of recitative# And

too, fcho arias are not on the whole Just display pi#e«sf but

are dramatically appropriate* Mozart w ft master of wusi-'

oal characterisation, and the opera is wall Integrated musi-

cally while still allowing for dIff©rentiation of tows in

such contrasting elements as Anna* 0 passionate desire for

revenge, Don <M.ovaimi*s amorous exploits* the peasant epi-

sodes, and tli# Statu** 8 rwsng#»

With the exception of the one performance prg&ueed by

Schi&aneder,. Son Giovanni m s not heard again after the

Vienna performances for ten years# About 1789 it be>gan to

appesj* again in various Gersaan and Austrian cities in

translations# These translations tended to exaggerate the

conic elements in th© opera, v*hich is indicated by the list

of characters from one of thesu Don Giovanni is called Herr

von Schwttnkerich* Don Ottavio is Herr von Pischblut, and

I sporello* PlBkfftelE*

German critics of the time were generally condescending

to the opera, comparing it unfavorably with contemporary

French and Italian works, Beethoven adalred the music, but

thought the subject ixaaoral. Goethe has been reported as

h»nt, oj>» clt»s p* 176#

s&ylng that Koaart was the only composer he -would wish to

sot Pa&gt»

With the of the Romntie movement M ffi^aaBi.

gained rare popularity. A translation Bochlita stressing

Its romantic elemento appeared In iSOl and beo.-ia© standard

for the first half <*f t&© nineteenth fsatey* Tit® i»w popu-

larity resulted In & groat doal of intellootual relnterpreta*

tion and distortion of the original nature of tihs work*.

Originally an orjera huffa with scsae 8&ri$u& elejnants, Don

Oloffaaajt beeaoe, to the nineteenth century Roaanties, & sort-

ous moral tragedy and Don Qtmmmt himself became thoroughly

eotifuaed with Faust* During this jwspladi tt® opora isi •

performed without tt*e final aoe&e fAich reestablishes the

comic aood after Don Giovanni's catastrophe*

To ishat degree liozart was Ixnsardly & romanticist or a

classicist, remain# in dispute, but Dcm gfoyaofod do«s tew

seas romantic qualities musically and dramatically* fh#

early Oeroaii Eonetntic coja osers of opera. «?«?# qui ok to 3«&al«

tm this and make Don Qiovaaai their aodel* 3pohr* s F&mgt*

Weber* s Frclgi^jlt^A and E» 7# A* Hoffwi*® r«¥#sl its

inputs©©# Hoffman, a writer as well as a ©aapos©p, wrote

In 1813 a short story, *Doa Juan, oine ?*be2haftl@e gtegabej**

heit," isiiAch contains s romantic interpretation, of tfozart* s

Doa otgfMiai*

Pan. Qloraani has never become a popular favorite #ueh m

QB.rm®n or Aldaa but its perfoi«i»»s are fairly regular if

A

not so Fart at Wm difficulty is due to fact

that without extremely oomprntmb aiagars, ti» »amlt is

likely to to© rather dismal* For laite»t three exeallent

mprnm® mm neeeesary* Despite all Mftieultim, tower,

Don qicwwwl has always bad Its little oovp« of nmaieal «&*

thusiasta aho Maw aaver let it dieappear altogether*

There has been a great deal of rathar fruitless diaon#-

aion of whether or not Don glovaml la tragedy or <*o®ady»

Hozart «al Da Ponte ©ailed It a dismjua KIO^OBO* tent mny peo-

ple sea sarious tragedy in the artas of Donna Anna and in the

revenge of the statu©# It tea fe#e» mmm» that moat Don Amoi

plays do combine tragis and oorate elements, Issww, ani it

seems recuicou&le t# regard Qlmmimi as an spam with

tragic, eoalo, and. supernatural elontnts*

Whan eonsid©ring the origin of the Don Juan l&gmd it

Has seen that the lagend ms « m t M by the imlon of two el©-

a libertine audi his praiafaM&fe* ifoi<sfe. m a nasally at

the hands of a statu®* ft© l©g® d in this form bad an im-

plicit moral# la firs®*# play, the first laportast repre-

sentation of the lagtM# this moral was deliberately exploited*

but im later versions the moral propose degenerated* Aa spaa**

tael©, the legend still sucsoeedod im th© draisa, but as early

as Mollere* i Bona I w ' there was apparent a certain uneasi-

ness in finding a realistic eomedy of character ending with

a supernatural event, In tb» eighteenth eentury tha thews

was still popular with the publls, but the anaehronisa of

the statue* s had become go obtrious to people mho

could no longer fate it seriously that few men of letters

eared to deal with It*

Still, there was effective drawatio material in the

legend* tfoaart* * Don fflovaimi realises the possibilities

is this »terial without anomaly# XMmrt was no moralist*

If Bob Qi&mimX iwre a serious moral warning* how oould he

possibly iaiwr® sailed it a drf»& glocoso? As W* J# Turner

baa said:

Don Giovanni Is not to be put in either elasa [tragedy or coEec!5Tjr*for in this work Mozart transeends not only the academic formal elasaifieations but also the conventional e&fcogories of good and ewil* tnd blends the tragie and the eoralc into a unity whieh is not to b# dissolved*?

Mozart was able to transcend the raoral problem and

realise the drassatie possibilities of ttoe Don Juan legend

throa#* the power of ausle« Hon Qiowafif Is t&te perfect

version of the traditional for® of the 2#gS3»i bseans# it

realises the full drasatio possibilities on a noa»r@allstie

plana uai© possible- by srnaie# 4 realistic Boa Juan baaed

on the traditional form of the legend is impossible* Modern

audieisees do not tale® seriously atom© statues that walk and

talk. 0oldo«l« * atteopt to eliminate the st^rnatural re-

sulted in failure* Souse kind of suspension of disbelief

was necessary# Mossart* a musie wmm the answer#

# ,T» furner, Stosart, ?he Man and lis Work#* p# 389#

tli© Ban f » « » l to. a. Itep if# tpafii-

RHm *Sm t&gm of it# ovigiA to fee «ei of tfts* m$$&*

stafeto# fii«*® mm so giagl# r«g«Mf lia» of T>«$

**!&$* afouM fets# eent«&X &url* #f" Ma* l gea! A#

1# 1;

mfwpyi •w&rwjkmi**'4**

on t&» tiioX©* tli© traditional f«* of fch© legend, wMah

7?

from tb» MwkXlls© Pon M&u of ?irso t to tb* philosophical

and arlatoevatte Bom juoa of Holies?® # to the .rapacious ant

a&dlatie Dos ?ahft of Sh&dwell, fco tb* irrepreaaibXy higb-

•p l r i t ed Don Glarauni of Mooaartf but tfe* tons to of

plot and efear&ctere never varied greatly*,

&»fel©|»isfe of the legend before the nineteenth cen-

tury vtsul&ed 13% may others, two #«Jgs of g » a t la*

partan** in the Don Juan l l teratia*** Steai® XX* s fis# t*tber»

tt«e mad ?lwo«« El d> SeyflXa.* the la t ter 'of Hbl«b

has sows a r t i s t to se r t t , as wel l as toting of great iiapor-

tanee la eafc&bliMjlng the legend mm a draaatie subject, m&

two others* Holier#* a Pom Ja*a aa& n»$ftrfe*ft Don Qtmmml*

rtiieh, besides b®fs§ important i n tbft Boa lltevftfew*?

have groat ar t lv t lA » r i t In the i r o«» rijgstt*

Prior to the nineteenth century, Don Jfma work* were*

almost without exception, draaatie In fern, t j* iwt lmg ofem

sM bal let* Beyond the seope of th is the#!#* tb» legend w m

pm&m in many ot ter f owa# auda a# the awe! and narrative

poeoi, and of e^ajw edtntlnua* In tfca dr«s»fst« form* After

1800» ar t i s ts fmtuft ta the legend a unif ied body of material

ready for their isoe* This material vmm mp&ble of interpre-

tations as varied m tihos# of Byron, Dw*»p Unn t i and George

Bernard Shew*

?h® 3*0mA has been eeBslotomtly popular btieause i t las

©stressed powerful feat repressed desire# ooswoii to « M t m

©iviXiaation* AeaovdiBg to Aiidv* lM»rol« the legend eontinuea

78

its popular ty "paroe que don Juan #st In ayabola de 3a

revanche dea instinct* aur 1a rigle et de 1' indlvtdu aur

3a aooiet*."1 la Its traditional fora the legend allows

vicarious expression of erotic wishes and social rebellion,

but retains simultaneous moral vlndletlveaaas* This seems

to be the basts of Its origin and of I tea continued popu-

larity and appeal#

^ndre Haurols, wDon Juan," L*Illustration, XCVI (1933)* fcfO, ~

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