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Xerox University Microfilms 300 North Zeeb Road Ann Arbor, Michigan 48106 74-6985 SMITH, Anna Laura, 1915- TWENTIETH CENTURY INTERPRETATIONS of the DON JUAN THEME

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Xerox University Microfilms 300 North Zeeb Road Ann Arbor, Michigan 48106 74-6985 SMITH, Anna Laura, 1915- TWENTIETH CENTURY INTERPRETATIONS of the DON JUAN THEME INFORMATION TO USERS This material was produced from a microfilm copy of the original document. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the original submitted. The following explanation of techniques is provided to help you understand markings or patterns which may appear on this reproduction. 1. The sign or "target" for pages apparently lacking from the document photographed is "Missing Page(s)". If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting thru an image and duplicating adjacent pages to insure you complete continuity. 2. When an image on the film is obliterated with a large round black mark, it is an indication that the photographer suspected that the copy may have moved during exposure and thus cause a blurred image. You will find a good image of the page in the adjacent frame. 3. When a map, drawing or chart, etc., was part of the material being photographed the photographer followed a definite method in "sectioning" the material. It is customary to begin photoing at the upper left hand corner of a large sheet and to continue photoing from left to right in equal sections with a small overlap. If necessary, sectioning is continued again — beginning below the first row and continuing on until complete. 4. The majority of users indicate that the textual content is of greatest value, however, a somewhat higher quality reproduction could be made from "photographs" if essential to the understanding of the dissertation. Silver prints of "photographs" may be ordered at additional charge by writing the Order Department, giving the catalog number, title, author and specific pages you wish reproduced. 5. PLEASE NOTE: Some pages may have indistinct print. Filmed as received. Xerox University Microfilms 300 North Zeeb Road Ann Arbor, Michigan 48106 74-6985 SMITH, Anna Laura, 1915- TWENTIETH CENTURY INTERPRETATIONS OF THE DON JUAN THEME. The University of Oklahoma, Ph.D., 1973 Language and Literature, general University Microfilms, A XEROX Company, Ann Arbor, Michigan © 1973 ANNA LAURA SMITH ALL RIGHTS RESERVED THIS DISSERTATION HAS BEEN MICROFILMED EXACTLY AS RECEIVED. THE UNIVERSITY OF OKLAHOMA. GRADUATE COLLEGE TWENTIETH CENTURY INTERPRETATIONS OF THE DON JUAN THEME A DISSERTATION SUBMITTED TO THE GRADUATE FACULTY in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY BY ANNA LAURA SMITH Norman, Oklahoma 1973 TWENTIETH CENTUEZ INTERPRETATIONS OF THE DON JUAN THEME APPROVED BY 7 f c DISSERTATION COMMITTEE TWENTIETH CENTURY INTERPRETATIONS OF THE DON JUAN THEME The treatment of the Don Juan theme in works by Azorin, Valle-Inclan, Unamuno, Ayala, Orau, and Torrente Ballester shows the individuality of their interpreta­ tions. The results manifest the influences of personal ideology and aesthetics, as each allows his imagination to transform or recreate the classical hero, but a concern for man's place in the cosmic order indicates an alignment with the shifting twentieth century perspectives. Azorin presents a new Don Juan who has matured spiritually and outgrown his former image. Instead of the sensual, rebellious Don Juan, he chooses decency, austerity, idealism, charity, and love as the criteria for his hero. With a minimum of essentials, Azorin creates a new character in his impressionistic novel Don Juan. This new creation, one more acceptable to the author, is a subtle negation of the sensuality in the tra d itio n a l hero. However, V alle-In clan ' s Don Juan, the Marques de Bradomin, is a satanical libertine whose story is told in Sonatas. A predilection for the ornate ae sth etic s of Modernism and the decadence of Symbolism determine h is in te r­ pretation of Don Juan and his conscious effort to create an alter ego. Unamuno combines three themes in his play El Hermano Juan: the reality of a fictional character, the concept of the world as a theater, and the equation of life to a dream. Although he is sincere in his attacks on Tenorio, whom he calls an intercessor, Unamuno's primary preoccupation, man's immortality, overshadows other themes. Ayala also condemns Don Juan in his novels Tigre Juan and El curandero. declaring that the public is deceived in its adulation since the libertine is impotent and weak. The real hero is Tigre Juan, the antithesis of the popular concept, whereas Vespasiano is exposed as effeminate and ineffectual. Ayala uses irony and humor as he also attacks the antiquated concept of honor. Grau's Don Juan de Carillana is a ridiculous aging figure while El burlador que no se burla shows Don Juan as a figure of animal instinct, unable to com­ municate or know God, who brings sorrow to others. Further extentialist ideas are used by Torrente Ballester as he attempts to bring Spanish literature into the twentieth century in Don Juan. The novel's theme is that Hell for the hero is him self. TABLE OF CONTENTS Page INTRODUCTION................................................................. 1 CHAPTER I . AZORÉÎ.................................................................. 6 I I . VALLE-INCLAN...................................................... 19 I I I . UNAMJNO.............................................................. 1|2 IV. FEREZ DE ATALA.................................................. 77 V. JACINTO GRAU...................................................... 103 VI. GONZALO TORRENTE BALLESTER......................... 12U CONCLUSION ................................................................... 139 BIBLIOGRAPHY ................................................................... ïk h i i i ACKNOWLEDGEMENTS I wish to dedicate this dissertation to the memory of ngr son Major Allan L. Smith. I wish to give my special thanks to the Chairman of my commitee Dr. James Abbott as well as the other members of my committee for their help . iv INTRODUCTION Although the rebellious spirit of the twentieth century is early manifest in Spanish literary reactions to old values and forms, many of its authors evince a propensity for the traditional Don Juan theme. The universality of its appeal, its scope and plasticity afford a rich field for diversities of the various perspectives of these writers. In their quest for new paths, vigorous individuality asserts itself as each man interprets the Tenorian hero: Aaorin (José Martinez Ruiz), Ramon del Valle-Inclan, Miguel de Unamuno, Ramon Pérez de Ayala, Jacinto Grau, Sal­ vador de Madariaga, and Gonzalo Torrente Ballester. Azorin presents a new Don Juan who has matured spiritually and outgrown, with some effort, his former image. As a leader of the new generation, Azorin places more emphasis on original characteristics of decency, austerity, idealism, charity and other admirable qualities which he gives to his hero. Valle- Inclan indicates his preference for the elegant Marqués de Bradorain who, although endowed with traditional Don Juan charisma and audacity, is blemished by perversion and decadence. Unamuno declares that Don Juan's grandeur as the most imminently theatrical personage is a result of his rôle of always playing himself to himself. Unamuno strips away the gla­ mour of the traditional and exposes Don Juan as an intermediary, un alca- huete. Pérez de Ayala believes that admiration for Don Juan is based on a popular misconception of his true nature: His masculinity is a fable; 2 despite his sexual involvement with numerous women, Don Juan fathers no. progeny. Ayala condemns Tenorio a s a fru s tra te d Impotent who rushes from woman to woman in a futile search for one who can rekindle his passions. Grau presents contrasting ages of the Don Juan character in two comedias; as a lascivious youthful protagonist he is Indifferent to the tragedy he leaves behind, and only concerned with self-gratifi­ cation; as an aging lover, he is subjected to a ridiculous role totally Incompatible with the traditional Spanish concept. In both epochs, Grau's heroes are synthetic copies. Madariaga, unable to resist the polemic, compares six famous characters from the European stage by as­ sembling them so that they may meet a mysterious veiled lady from the world of theater. She is given the authority to choose the true Don Juan, the only one who, for her, exists. The lady is emphatic in her choice of Zorrilla's hero over those created by Tirso, Molière, Byron, Mozart, and Pushkin. Dr. Gregorio Marahon carefully studies the Don Juan character, presenting a psychological analysis as well as a bio­ logical diagnosis. This prestigious man of science finds a feminine element in Don Juan caused by hormone factors. Other essayists of a literary nature are also donjuanistas: According to Maeztu, although a dozen talented writers have tried to place their stamp on the intrep­ id seductor, Don Juan is still in search of an author who can definitely crystallize his character; Bergamln, preferring Zorrilla's creation, compares it to El Greco's magnificent canvas Entierro del Conde de Orgaz, pointing out their mutual elements of religion, nystery, and fantasy. Ortega y Gasset uses Socrates and Don Juan in his discussion of ironies in human life in the two dimensions of culture and 3 spontaneity. Traditional themes are frequent among writers of the twentieth century and form one of the characteristics of the various generations. They are one aspect of the general re-evaluation of Spain's past and its values, often with the goal of changing the coun­ try's image. Spanish subjectivity tenaciously refuses to conform as each man deals with the controversial Don Juan theme. Some of these authors show that Don Juan is not a whole man, and they are trying to change the Spanish concept of machismo by exposing his lack of mas­ culinity. They choose, in an eclectic manner, those elements from the original which appeal to them. Tirso de Molina is the pseudonym of a Mercedarian monk in the seventeenth century who created the first dramatization of the Don Juan legend. Since his pen gave the world one of its greatest characters, Don Juan has made his way into virtually all literatures of Europe.
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