THB OF MN MS AS 0ol2&g& in Papfci&X
Poa? the
By
Kox&toth &U3$<&Y B* A. 223548
TABLE m CONTESTS Chapter ?»g» X* IHTRODtrCTION '1 II. TtIS OHIGIS OF THE DOB JUM LEGEM) . • * * . 3 III, TIR30 IB *OLim*S m BURLAPOR DB SEVILLA . * IX IV* THE DOIT imi LEGEND FBQS TIRSO»3 EL BURLAPOR TO MOLIEJ«*S DOM JITAN . . . ,7 2$ 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 Ms fisapMtt*!?#, Swo»l fac- tors add to Ms >m a subject for .«»& tvett* fcay «a^fe 4««IJ®g with lita- pjpafita from
Gm mmt-fen Mswfii X not to pm® mm s§n 3hmm m m wmm llb«x*fcin«* s§- is *» a popt&raSa? soe ioty, a» ®mmm to all *ft&tta*Mji but tb» few Be® at least in. Ms arlgtwal fens, could -set teste otherfcti&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 Ml Jmir© sc«a®tfairig to mh®% ag&i&st* 1# lamst not eonfuae DOB Jte ittMi TUT m»t of l&tortiUMi w find is, omek agthelogyv for example# ffe» eC 1 a Boa luiffi are aot really ©©sparable to those ©I 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 stent 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 mil gaaaralisation, tat fuptiMnr la^stigati.#!! reveal* that It Is ma ti«a aa 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>$eet to €i«* vest »»uaittkttc«u It Is relatively clear, however, that tfe* basis eletaents ©f the Dm Juaa l©gen4 are eocftion to many la It# si shiest arat earliest form, the Don Juan le&end Is sierely the story of a libertis# punished toy swper-mtural ijitorireri ti on* fhls story my b© tato two essential elements* (1) a libertine an& (2) his supernatural paiA» aeolu inNmysp th©3© two elaments are J#imA ~m have m pos- sible nucleus for ths Don Mb &*••* fines# eleiaonts aw a&sost to# giwsi to Wittk* Jwswever* asti «# msfc find stop* la to wm3» mmU prajgppd&p fit tracing the !»$•«£* . CM ©XCMWf* WU*»ilH*ticm, it ©SB fe# ®#®S that tfe* W»1 Bos Juan la litcwfttur* tha dwuaa 1# not just ft® or&laary libertine, but m* «bo i# ebmetert s«d by a ktnA ©f magiit* tote «a «a mtsNna® in Mm Mm of peetp&izit at any Mat# 4s J?**- his puniebstent, it will is# mm. later tbat the tffteal fw® Is d©ath at; taw bend* oaf * statu© of ft person ft# has wronged* thla is »ot invariable, hemweKV aadt in toe* YMtioa* the offeofier la e truck €#*» by lightning* la folk-lore tbeee few eleneate exlafeed ift vftngr different fwis* 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* ©ftl# at leaet of tbe works praeeding -f&® sl»st««atli mmtmj, it will perhaps b© tsost useful feo tr&ee at well aa possible these foraa of the elements and the conditions neeesaary tm their eosofclimtloa# The lies est aa individual with an tarnsml snetmt mt mmml energy «& prowess Is a eosaron on© In meat jspthology and folk-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 allianees 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 Ms tb® inovifcabla oonsaptlea of aoat m© of fcafeaa* grow «j» about the «tana? mi# p®i^»afc# tofcisn form s 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 wy fa«s0»Xy tocOe Si# few In isfaieh. the oftfaa&ar invito# at*ai& «a ofejaot to dinner ma& fiods Ms invitationftoeaptodi an d 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 attendttasa* onl y 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<lmiB vow* aM&Mavy for t« 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»# it would law® to have strong but mtber crude lion# of pkals^ menlm with Ohm app@a4 of Christianity th&so %# 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 mm 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 ms 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. 8 %«wt# Fit8a&uriee~Kelly# "Don Juan., Biwyglapadla 3rltanndea« 7Xt# 529# w ^MnueX »# Mw* "The Don Iw tiegexai in t#ita»,tar«# JTWIOTA&L of Aaerlaan Folklaw**, TO <1908), 3J9£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# ms 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 Mit giving out t&at ho had insulted ffliea*® statue «nd Ml b©@n throws tat# hell by lt#7 there 1* & possibility that mnm smU pax«ob actually lived and that Ms life may bm& had some on the legend as He It today* but, the existence of widespread previous legends pmmm that m such person was ase^saary for tine ori- gin of the literary *nft dramatic eharaetor* Early literary aM 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»» tt n \&o®as S£ia*weXl» Fm£^mt (to ffe# &ll»ertliis>c ffe# C«*» 1 worses ©gr IDIOMS# siaaawj.Xg edited ly iioStlgs»" * ^•iUwd^i 81*o£L» «aska» gms»» &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 Mf 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# xmi (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 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 It Carplo aai Other Authors* It was preauj&atbly written a fmm years mwtlm* probably about l62j>» •flFW*s iaoadiate aouroes aw not known ox&ctly, but the possibilities ay* elMf« Spain ma part!U?3A*2y riet* In Hon Jvtm folfc-lore« MWi older than the play «ca~ t&la the ©Xwestfes of feh®8t% aad Xejpad# of v'>unlstosa&at by states wmm extremely oosnon* f|j# basics these &*& already hmn dMklfc witk in Cuarn* » SadPiMMtdQy sad jxcqfeafely is mi ®=e©X#sl&sti#sI drajaa, I»<4te|gtti Sedueera and mlklug stone statues ©eour in the worke of Lope a® fegsi# ?irsa»s master#1 Ttawe is sera© reaenblance between the Don «Tua» of ftws sad %hm rutim of early Sjjfui&pli teas*® Any op all of tb**» oould haw suggested op istfluiKKed th* ehar~ astap* Aa fw Tlrao» a treatment of the Xegend as it «a& milft* bio to his, it ie apparent that Ins ulcus® a*««m« the ev»dit fw alwatlog it to tfee male of «H» folic arte***! awilstolo to Ms ir&s urvfonaed asd the eharaater tasi«* developed* Pwwricma dramatic tvMoMiata vara primitive aad laaktag la flbaraeter 1 aation and philosophic Interest*. 3toa Spaalah ia flargo* is Ma» wmw esaenttally pepolAT in mlw# 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# ngflgft XI (1911)# 2£6*20&* " raff •* tSn» gflasiffel chtffttotop is osniRllgr inf iii m in litemfcup*** It will pevtuqps mil to gim s imtkm taf1 &9mfm ef It is night* $$& Im. 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«lle «b* Slag that ftsp&tira to 1$ Bern Juan «ad Ms 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, Ms a@s*mnfc» flees amy to Seville$ desert- ing bar as is Ms ««&«*. 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 oM £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 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 approache s 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 aim 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 Ms 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 Ms s®?«fe8 niiig fop hita*. So the fa«#fiot» inquiries of Oatalinon, «too taw partly wrevaoM* Ms £**?» the statue oslj aod# ia reply* • The Statiio indicates that lie Is leairiBg, and Motions tha otitavs to iMmm hla alone with Don Mo* Statue ttttota ft promise that Don >lwaa &ufi Cataltnon will 41» wife Mm 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 twa^ * 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 tro# Don jftNGR* Don Cunsalo announces in a' aXcnr* terrible tone that this is If a of God* a for Ms a%xm* Bo© Juan, is agony, sferitos at Mi# Stain* witk hi* #&^psr bat It aMt* a© vufosiaiiee* In despaii* be aisles out tbfti h® M not had fclia® to 4k> til® *1X1 « Don* test# fti# Statu® Is not appeased a»cl Don |«s i>#gs to to* al» lowed to s#® a priest so that he may die n Christiazu ffhe state®© yapliest The chaps! tres&les «aft sinks into ia» tmaetb^, bat Ctetad&HB&t escapes and inuaa «»| to tell of %3m ijw-teisl® he has wit~ nessocl* At the King*s ©ottpt, mil Dob Juan'a irisMss Imm gath* •etm&m Batattsie* flab**# aad Jtetiaift bog m4mm tot* their Injuries* Mota, i&os© pardon has been 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* still fWRg *s «» tew M» is 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 Mm 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, mi 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«al tandem© as In Ma* 1# is sscwe life© a hatfk wife its pawy ttms a m with fit maid, altbcmgh tie oan flay tha lover imttl his conq^ieat is lutauead* Sis cruelty is greater than that inherent tn the situation of & saaa engaged In & earear of aaductioru He rovoal# tfei* attitude by the heartless m&rmoT In which he wmrm.Iw Ma 2*e&l identity to Jlat»fc& Is von, and by Ms gloating over It is efertosta feet Ms Mm of the intercourse of the m»u is? that of hostility mod combat* In a way he is iiamatyre ality. Bos ln*s mrmJMj is fwfeei* indicated by his typical a$thods of due of Ms f&irorife® trieks (and h# usually sees Ms e&o&padea at tricks or pranks) is to dia- desirea axid t® poa#ess hep in thia pits®# Whan #»1 tif#u©8S# &r© so ovartthalmed by the prospect of marriage tilth a noblowan that they yield aaaily* h© usually »s®rts to p«»* ises of tpsryiag®-* Both devices are of the ^pranJ:* variety# and he la quite proud of his reputation as a or " Besplte all hla xfobelliTirs©' a Bon JmM Is 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 ««tltafe*d,» Wm plot is composed of & s®2»ios of deceptions followed by a sup® r @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 Ms 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»mm 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 Ms play vhlah bm&m tb* vague for Bon $aaa llten&tu*# TJhlch is still aXlv© tin?#© centuries later* saws iv ^ DOH imS SBffiBSD FHOM TiaSO«S EL BUHLADOH SO «GX£EI**S DOS &£tax* tiie Burn Juan l@g®M had sus# baen established in a definite -Literary and dramtic fonsi through the of ^irso'a It sppfwut mpICly -An& ««»& beeaa* m popular subject fa? $t*e %hmm appealed next In Italy in two- «4apt&tl9B9 of play, both, entitled tl goggjfeat# di pi»tga» The adapter®, nbose i§fte both •ppauMg *3>aufe 1650-1652, • were Olaelnto kmikmm Cicognini aad Qoofpio 1 011&*er£o# ffe® latter a play tea bean l©sfc-t but t^eognlal** • is extant. Is thMM vwaiona tha high ooral purpos* of Tirao Ma'gsmtlj dagansaNKfcad* and the sop# aawMkttoaal ahaarMtar* istiea of htm play tew been ctaEg&olfead for- p®|^aMr appeal* Bi® plot m#, soon adopted by the Italian ecaswiaNtia d#ll» art# m a» outlina fot» i^ssspti paxtforsftnaa* several ver- sions of this froenario aro extant, all entitled 11 Convitato di piatm*^ *£b» ooBgaedia #tip arte troupas ha# been visit- ing France since lMtfoara the alOS!l* of tha aljctecnth eentury, - and ww?# vary p-epttlsa* tlmm* Tim Don Juan story soon reached that ooaotvy tasder their asuaplaas* tl g®jfa»itatQ m® perforata# in Pari a by tb» Italian trmipa of Fiorilli ~m early as 16^7 »2 op» cit»# p* 382* MolaaAy holier* at Is. e«ma£die Italieime« p0 191» Sine® mil doll* apt®. pwfwwames w®i*# largely improviaat 1 oimX «at u© porforsianee was. e?s? exaotly like- an- other, tto.<«p* &r© .of course no &efinitl?« tHBEfca of tt» plays# Only outlines or #eeimrios w«f writ tea down and used as tjas#g for fch® porformarioes, tshioh «w# 10ft fco tlx* tioo&X skXXX of fch« pax'forsaers, ifeo #ai&lXitih&6 t&* plot with a took conceits and or «nsiag sittatisss* fh® original scenario of II Comritato il pimtwm. (in «*»»««» -mwino^ %»»»««-WEi** ninniiW Fr&s&e aaXXad J»e -i# f tiirr®) a* it wat first performs In Pm®§® Is »ot extant* but t&are It is existence a sli^Nbly Infest version of ttM #$eaBirld with typic&X Xa&si indicated* * Sfi«b®f of Fiorilli'a trmxgm i» Porta* 3&1* scenario is given in full by got *Cb» basic «£ttts&lons originated by SUwe are still pres- ent in i&i* »«wtri&r but mu&h addlfeloa&X ftoole material feas to thoao of tnpaditioEtal 6 %M4*# pp. 192*207. 27 his is, mad hia decision t© substitute M®» mt£ for Oetavio* $»* l&».t Include suoh d*?le0s <&s a aook fight 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 fii» 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 Ms guilt usi in *hleh first Pantaloon and then th© police attempt to bribe Harlequin to pern1 the atffdew, MmlMqv&n aeeepts nonoy from the polls© but giws then false infovB&tion* In th» «aeondl act a young girl, BeaaSte* Is fiehlng by the seashore« Don JUan and fi&rloquln a*# shipsyrecked nearby* Don Jtmn intaedl&tely begins to sals# Xw to te* Be pvcM&aa# aM tli® couple go off into the HM3® they are gone,. Jjsrlftfttia pities the girl and says that Ms master la auefe a Hb«H;£Mt that if he mmm In ho 11 'im wmiM try te wm^am Trnmrpifrnm- Be® Juan nnd f&g&lba return# Don jnam tells Rasalba that he eaanot mrry hop and that Karlequln will tell hex4 trhy» Daa* lftsva* and Harlequin shows Hoaalbe * lotkg' list of her pvedeaawsara* Then h# tbaovs tb» list i&to to pit, tailing 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 iwm and £««&acguiii jola fcho party,. «a& Skm Jims sawtarn off $ht InriUla* ©» seana changes. Sea Juan aM Harlequin 000 a «pti% cjausol@tsi wife a atstu* of fcha &» l^isa *•*£* Vm fcte*«st®fitiig tasefl^tloa aod r» ft moment jNPttaa&s to be fright- ened iM but h.® mom bursta tat# to fcha alMrtta* -sM orders Harlequin tf» Invite tfc to m^pm# 9m mkmtm fteoapta* In the third act Harlequin renonertxtataa with &l« nasstor. Don 3"usm pratands to feel paoorsa* Master aad sartaitfe 1®®©1 togmthvr to fetg fav^vaasat of Jupitax»# tout &on Jtam and, wife sa aAroStSgr plaead klak* hi* opinio® of noraliata* The tatola foae» suppar is being pMgMtvwl abmi Harlaqulxi • mmomcos that tJw# la «.- fire la th» klttihan* Everyone mslsis omt# «bl3is ®a*»Xaquin stuffs hiaualff with. food* tthaa Bon Item aeaas is# aavaral lasul m*® ottt.la «biA Ha**- XjMpla tries 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 ly * • gSF,l»^«ia is forood to sisag aa& drlult: t&a h*aXt& of tfe# gusst* lfe« two baaqu&t seoaoe with tfo® statu© are tisueh. lite the ones la Tirao* ®0®«w* is no mention off »p®at«io© on #i— ther sii@» Haploquin is left# as is Sgamiisll© ia 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- lw &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 tfail 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» twotanqpet*, en d 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&f t belted la • • not sts^sng «B»qgte t» pwmt Ms prl<$e*s osttalfltg Ms to defy God m% the end* A Mat of thefefpoeriaf liiiel i *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 flapstoetaMMvr Tirs o «ad Mi£t»* fead a» »«rtea« themes or purposes, being designed «®% %• efttMPtftln* vhleh they did In grenttteefflsrtt* Hie y 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* Parisian public that* n$mn Mi pl*r* J*j| go*a»^i F®stia 4« gt#rr® ou i^afoE9g^» is 1669# Sotls^iid stated that prorloua&y hia thvater lmt b#«a tte* only one in Farts without mteli & play*3" Sa*£l*p tfean tfel% howeve*, is 166£* m Ira* * djmi j# yjia*gig m #§.slgii&€t to wt»t th© ihnhI* fw th© ©uooess ©f S-^M^pe*# h«B3*»ty &m$ not b®en suppressed along with Ms flKgfcttCf»» m& P®8» jfaia bnA an «•«» sorter 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# first porforsmiae© of I?oat. Juan *»» ©t tho Falsis« Mofal,. February !£, 1665% Soma p*saag®» wlatoh «ff«iu fn»?e oraittod after the first perfoznaaneo, but ffolier©* a Summers, "Source" (of The Libertine), op. clt«, III, 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© Because ef the eosqmny* s rte©€#. Be» na# written hurriedly* and Is perhaps the least regular offtoll£re* s eon- edies, b#*14*afeeing i n prose, f§hi@ii ma 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 Ms 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 Ms rs®i£# Woliere* a sourgaa Isav© VMVQP been ®et?abliste P# 3kS« h£r£tlqi*d-# qui n* cro5.t a£ Clal# »i &Bf«rr at *•* In the ussffe scene Dora Juan adraita to Sganarelle that, a# the latter lias auspec uod, there is m, mw object of his atten- tions and that t» has loft Illvire to oMe? to devote h&as*Xf to bia new interest * Sganarelle states that he does not , Do® #»«* 1, t* *Hr £f 2>mohaut* * o£» elt». p# 15? 3-6 approve ol* mid Doa Jium delivers & long »ono- logus on Ills cuaatory philosophy* tfaioh is a sort odp dilftttft&fe*-' isa oflf love* Is affeet ha believes It foolish to espect &i» to renain failtifml to one w«isu# and that the fact that i» pjxb aot on* «a»m f iwt do@a not dastroy ffa» rights of tfoaaa - be will moot lat*r» T3» love be has for one ahould not iaake It aaeasaftxy fw tola to bo ein»l tes tba ofe&a*** B&gi&al&g' affeotloa hM groat chcura for him, &M all tba pleasure of lov© it in efcaage» On gout© ua» timm'&m? extr&w* m v6§uf*»» pap oent hos»» wages* 1# mo*v& d' un»s Jeune feawtfcf* 4 voir in J oup sa jour lea petit# proves qp* ©n, y fait, a eoabatt** pt des tMQMjpopfeaf pap des lams #t dmi «mpiap«r X*if®t®~ c-oafce pudeu? d*ua* «oa $ul a psiaft- & rendre 1## acnea* a farea» pM & pl+d teataa Ms petites qu'ollfe ncHta oppose, 4 valnere lea aajntpalaa do»t #11# 3® fait m jtaBiaaftF #t Iajmnqm* doueentenlfr oa nooa avona: envie d© 1& faire vcnir*" But ouea the aooqpaat is taade, t&e:pa is little aor® to eham . Mm ami fee is a&traefcod ©Is^asasNi* S© foeia himself a ecn»* quaro?' in loir# &»A withes like Alexander fop sore worlds £& • whioh to ®xt#M Ms coaquosta* $gasm»li# begins to reraonatrato with Ms vmst®r tap his &M iiis moum top accepted bsXIaf** trot Boa Joan fer«e&8 off tbla diaconirao asd "begins tea tell of the young girl he is interested in and bis plana to abduct her by boat from the aeaahore* At this pol»& they -are SAfeattvqptad by the approach of Done Elvtv*, utio t»s eos« to *»efe h@r straying bB*)»a&d* °lisli#r% «£* £lSe* 'l* 3? Doa 3>xsm is at first 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 fslis ©f eoasciei»# about; steal ing bar fro® a 'mimm&jf, and that even tfoaugh they m» «*© ®Brrie&# he tmls it mreiM fee sinful to live witB, !«** Her© first 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 it 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 little «|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 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. Bw# 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 lw 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 8 Ibld». III, ii# ko that he must show himself worthy of Ms 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 Ms 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 Ms 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 his 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 Ma 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 Bw 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 probablyraor© faipertaat i n 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 ws not ctopuliisif!/ in this play, although it is by 110 aa&tia antl^aoml^ Moliapa doe* not mlm feha chanea to ajcnraaa sow® of hi a fttwit# 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 ita «ajoi» nrvS propar geal tha full and vivid praaantafcion of iatw®st» trig char&etara# Tha raaolt is*y jMrodUie* a ?»ml eonaltiatoeB^ but Its osaantial pmxfmm is still tha pp*s*nt*tion of alw- acter* goltfej** haa don»' this aupex»latiwly wall* Hla Dam Sunn ist a passion**** AB^IIAM** sophlstiaatad but uncivilized anlnal of terrifying p^op»tt«s* mmm 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 is «iftaf fefc«dly on* of fch» I*mmhp rnwte of a wif faulty ln*t it 1® ae-wtrtti*- toss m^wmmly inlsnmtlag a# ft ts»«t*sat of tb* Wm Tu&n ftrn mi « of good fiallf* S»a mranl 1i%0* h* ms *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 • voeifmnt FrotiMftaBty as *©11 m petfe Iftoreatai un&aap ??Xlllm ana Ifctvy* Si* literary ^®putafeia-» It mb aw«sr®Xaud@. of ptafcertM, mMmu, b«rl*ttM# and operettas, m the saaa aubjeot#^ ftm prlneipal aource of Jfce Libertine wa* not Molten'a Dom 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 &mm with til© desertton of (*oll«re*a Klvira). 3£n» «** valet Carrllle directly lnfowia the ladv of hi a masters tre&eherf* la she fflWWnW t»_t>*1 be tella her quite brutally that his love is :dead#- 3&on in company of two friends he aeelcs aw advenfcur a la aw lands, thus evading the vengeance vt*ieh his eriue® In Seville are about to bring dora ea A gfalpwrwok follows, a&A upon HI® mmm® .£«* JJJjjf1* Boa l®n prowptly seduoes two peasant girlUi* fHESTto 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»tm 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 wy fearful are the punxdh- aenta with which this aMftongo* tvm Heaven thr^tena Don Juan* aU two coapanlona In crime are ^*2»S^ before Ms 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* Wmm 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* H n ^SvBasBM»ra» Iatrodu©tion# oj>* elt#, 1* emit. $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* shudderfhis 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 ms 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 lat 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# butfcljey ignor e 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* Ml® 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 mm 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 me 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 tn^ 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 *ia 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 $mmm 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® &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^«ap| 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 ia that woaan la not hia only go*l» He demands a constant «uo*9ft*lan of all forma of eeanraptioft* B* Is * figure ©»** 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 interesting for its excesses, but it is not eonvinolng draa&tleally# The whole work is so overdone m to approach the fMiemlcma* Its WEaggevatloa ia a burlesque to offset . if not ia intention* $bftd«ell claimed & MMPSI purpoee for • his play, syg did aoet Restoration playwrights wren for their most o&soene produefcions* but the iapresftiieii i@?ifed fro® so mmh accumulated monstroueness far outweighs the revenge inflioted by the statue* Although Shadsrell* s play is M. Ixsfceytafelttg essay la ex~ oeaa cad sadism, it is really a failure as- a play and aa an *m» bodisent of the Don Joan legend* despite its original popu- lar ®m@ms# That It was a dead end for «sy significant fwp» thor doirolopiaent of the legend la Indicated by the dreary mass of travesty and burlesque of the then* whleh followed it 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 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 dol t $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 wi 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 untilfee toaglaniqgQff th e 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 followsfck© laeudltl 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# jssttoy Oluo k appsars# to l?6l# -IJ§ LF3Ffin op»r a A&LMT XX €#f|igS.'fcB>feq= 4i vlt3&ft !£&?*&& &ftjp &£cnNta$si . BerfcatJ last M&lifiwtp,tout wltf e 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 sstfts 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# «.»# 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 Iw 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* ml 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 libretto of Bertati to full length, and aa a result sone of the action, ©specially in the first parts • of th® second aet# is composed of rather confusing intriija©# ffe# libretto of EKm Giovanni was ready in a very short tiae in spite of ttos fact that B& Pont© «s writing T>» Arbor* di glima fo? startin snfi AaaaaSt Re d 00wry# ssaottg his papers at fee nearby Chateau of d«6 vftua# ha spent his old «g## of a different ver&loa of th© sextet in th# second act* H»a P011 siowwuif was first perforated in Vienna, in Bfay* 1708, fsoae nnr arias tmre added or aufettitutod and the * final comic scene isras omitted# Fifteen performances vsr«r* given betvreen Kay and neeember, bat the Italianst© taste of th® Viennese and of £&Q>e* followed toy the themes which accompany Son Giovanni*a greet- ing to- the Stat-ue aad Jtapoffelleta fear of fee apparition* 3&oa eose &h@ wli€ x*una by flutes and violiaa nhieh aa** coiapany tha warning srpoken to Don Ctlovanai by the Statu** ftse appearance la the overture of thsjaea which app*a? later in tha bayewpet suggests a p^o^seMiatie content* but the greater portion -of the overture is dedicated to the develop- ment of thanes whioh do not aggxa&r again* Siaaa mm plarfc of Oor* Giovanni. although rather involved, is pliably the fe#at~Jeaam of all tfea versions disousaed In tela mmjB it will, pavfc&ps be suffie lent to give ho*a* in» stead of a »ora ex&endad analysis, only a brief sxmmvj, with : iadi#ati«a off this position* of Hi® ©M#f aa?la»# Aot 1* Sees* 1# Leporello ia paeing bwsk and forth 1a tha gardaa of Dodm Ansa* a ha*»aa# lata at night* He coa- plains of kis miserable lot, doing aeufery duty afolXe his »©**' tor ansusas bias-®If inside (ilotte e giorno}* Suddealy Don Giovanni rmfoea ffton fee house gferugglSag with Botaaa Anna* who is trying to diaaover hia i&ao&l&y* Tha O«meniato^# Asm* a father, enters» Anna rats baak into the houae aii the Coisaondatore and Sua CJiovaiiaf fight* The ^Miaad&tiw^ ia killed sM Dos CStovaisxii iM Leporello eseape# ©mm Anna re- tw with has? flan&£ Don Ottavio, n&o trl#® to egafapfc her and .swaps to i^vesg® her- father* s da&th*. Boaaa 2* fUe aaest atamisg Don Giovanni and lAparalla ra©ot Xtoaaa Elvira, a former oaa<|ueat tHu» still lovea Mm 67 SiwwsaA aisd I# r#ll$witag Ma (iht ehl al die* «&!)• Don Gio?mrai ««tap*» while tepowllo Am® hm the eafcalog of Ms »sfe»«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 #»§ attains to the feridegpooai iste.il® Don Giovanni stakes love to ZerXiua, the bride (2& ei darem la man®)* ®te^ ar® lst©rmipted by BlYl*a vim warns Zmlim of the !>on« a f*&th3»«i»»ca* Bsm 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 ttle# a# ttiat of 3mhp attaetee? (Of sal flfei X*ona**)* Aloft® m Wm «t&ge Ottavlo «iiig» #a aria fel* love tm Mmm {DaHa mm pa©@5# Af ter all tb» oHw tofiw# left 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 Gimanl»s palaee SMLIml %#gs Haaetto* s pardon for »'gl##ttag him en tluiSjp weMiug- day (Battl, fcatti). Don tfiownl leads the l» inside «tei. the ball 1* is popegrfeuu Donna Ai»f sirIm# stai. 'Ottasrlo arrive, wolfed ana vowing revenge ©u Bos Gioveant* Ssparello £«*» Tit** tt»» to «om» la# Seen© 5* ®*» baH ts in progress* "She three asaaks *a» ter and aw weleased toy Don Giovanni* He di«w ZftpXinat into M anotkes? room* lias* acpsaas are Heard* f&a masks dwtana DOB (Uovannl, FEAT to MSK^H to mmmp® «it& Act II# 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~ • tit Boa Sitfami Ban sung Ms aerexiade (0ah vienl alia fiaaa» tra) f Masatto enters with a Mud of armed peasants. Disguised as Don, siiwaisai disawe 8a#*tt# and bm%s MB# Zerlina ©«3@s in and console# &i* (Vedml, aarin#)* Seen® 2, l^porallo leads Elvira into a ecmrtjard «fa®3?@ they meat mm ami Ottavio* LeporellQ ravaal# Ma identity to escape tiws revang® they vowed against Ms master*. ott&vi© . has anotlaer aria (II sdo tegoro) as does Elvira (Ml ti*ad! quell*alsa lagjMfcfc}* Sease JU Giovanni and Leporall© ateot in a e©i»©t©ry# «fe,©®»© they discover ft statu® of the 8 ©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 dir)* Sees® 5# Dou Qiovanni Is dining alone in bis palace, attended by Leporello and his private orchestra* Elvira © Jes- ters and bags MM to reform* but ha refuses disdainfully# fb» Statu© of the Comandstor© enters and bids Don Giovanni repent or meet his fat#* Don Giovanni vvfMMMi and" is swal- lowed up by while tApttrelle crouches under the tab la • let £+*&• fh« pamix&ng. principal* ««&«* mid point th® moral of th© story* in tin?®© li»©s# Although it Is neoaaaary to b# f®nil£#i* with the plot - of fcha op#f»% ohar &o t eri sati ©a if pt*eim®d as- touch by the 8ual& fug fey the flat# Bon Giovanni ha# asftsj* of th® inn^ •. teria&t«Mi of Ma but a&a* sosa® variations nhieh roaTalt in a. ttsMpsa total iiopraaatoiw B® has pes&aps th® moat c&paeious appetita for wcaoen of all tb» ©0» Jftttoa* Lepor»llo*s catalog 1ms 206$> antriea# «ai Don Olovaasti ta at ill & young iu$»# Sis usual taehni<|ti& S# mot that of Dot Jtean or of Boa John, Kxeept for tb» affair of Soma tea, vhioh a©©as aot to b© typieal of Mia, Ms method is that of «spl«sy£iag Ms iEsaeas© ahforai and vitality to wsScing his #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 realize hi® true sat^s*©* a.# has is ©f Bon Giovanni*a charaoter is an Jaseuge Sole de vjig** »v©r iMtroad «agr roatrwiat* Ha has Mi lawns# #aptoity for eajofaimt of «i#io# food, drink, wenon* This is vividly expreaaed is his aria. Pto^*lia» d&l vino* He aaaa no reason tfay his pleasures should be Halted, and he has borrowed aoae of 0s® Juan' a amorous philosophy to support his- aeticmas 'I tutfco mmQxmt ©hi a ma @©M- # 1* altre # erudele; lo» efee is me »»%o ai e^taso seatl* s@iit% TO* b&m a tutie $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 *£&&*» P* ^ n eharaoterIzat 1 on, he hasfeMHt place d on sueh a plane that he exeites no resentmont on the part of the spectator# Con- tributing factors are perhaps the fact# that he new 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 all women# Mozart and Da Ponte have also achieved the best Indi- vidualization of the worsen. We do not lsnow Donna Anna* a mm! feelings* but her outward expressions are all those of the attitude of' outraged honor which are required of her by her station* Elvira Is based largely on Moliere*s Blvire, but Is soaeviiat more middle-class# Zerllna Is a perfect peasant, »t too 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 aria s 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 h»nt, oj>» clt»s p* 176# s&ylng that Koaart was the only composer he -would wish to sot Pa>» With the of the Romntie movement M ffi^aaBi. gainedrare 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 «mtM by the imlon of two el©- a libertine audi his praiafaM&fe* ifoi 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 Iw' 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>«$ **!&$* af^ouM fets# eent«&X &url* #f" Ma* l^gea! A# 1# 1; mfwpyi •w&rwjkmi**'4** on t&» tiioX©* tli© traditional f«* of fch© legend, wMah 7? from tb» MwkXlls© Pon M&u of ?irsot to tb* philosophical and arlatoevatte Bom juoa of Holies?®# to the .rapacious ant a&dlatie Dos ?ahft of Sh&dwell, fco tb* irrepreaaibXy higb- •plrited Don Glarauni of Mooaartf but tfe*tons t o of plot and efear&ctere never varied greatly*, &»fel©|»isfe of the legend before the nineteenth cen- tury vtsul&ed 13% may others, two #«Jgs of g»at la* partan** in the Don Juan llteratia*** Steai® XX* s fis# t*tber» tt«e mad ?lwo«« El d> SeyflXa.* the latter 'of Hbl«b has sows artistto sertt, as well as toting of great iiapor- tanee la eafc&bliMjlng the legend mm a draaatie subject, m& two others* Holier#* a Pom Ja*a aa& n»$ftrfe*ft Don Qtmmml* rtiieh, besides b®fs§ important in tbft Boa lltevftfew*? have groat artlvtlA »rit In their o«» rijgstt* Prior to the nineteenth century, Don Jfma work* were* almost without exception, draaatie In fern, tj*iwtlmg ofem sM ballet* Beyond the seope of this the#!#* tb» legend w^m pm&m in many otter f owa# auda a# the awe! and narrative poeoi, and of e^ajw edtntlnua* In tfca dr«s»fst« form* After 1800» artists fmtuft ta the legend a unified body of material ready for their isoe* This material vmm mp&ble of interpre- tations as varied m tihos# of Byron, Dw*»p Unnti and George Bernard Shew* ?h® 3*0mA has been eeBslotomtly popular btieause it las ©stressed powerful feat repressed desire# ooswoii to «Mtm ©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 Itea continue d popu- larity and appeal# ^ndre Haurols, wDon Juan," L*Illustration, XCVI (1933)* fcfO, ~ BIBLIOGRAPHY Aristotle. Aristotle*s poetiesj Lon&lnus on the Sublime# •dlttf liariTlaldwil, 'few-forST TOmHsn, . 1939. Atkinson, William, "Studies In Literary Decadence* II« La oooedia do eapa y ©spada,® Bullet la of Spanish Stu&ias* IV (1927)» 80-89* Benn, Fr#d©pi@Js Christopher, Mo&art on tfoe Stage* London* E* B®s® Ltd*, 19M»* BorRjaaa* Am s», Thooa* Shadwell. His Mf# and Coaedleg. Sew York, few York'university PresVT920: " Brenan* Gerald* The Literature of the Spanish People, London* CambridgetfSS^riitsy Tree*; 1 195U ~' Chatfield-Taylor. H. c«» Molier«e * A Biography, Sew York, Duffield and Co., 19TCT ~ Cokain. Sir Aston* "The Tragedy of Ovid,* The Draaatie Works of Sir Aston Cokain, edited by Gerothwohl, Haurice A*, "Ethios of Boa Juan," Fortnijafrtly rnwlmt* UQOCIII {June, 190$)* 1061-74# ' *"— Gillet, J* S»., *Cueva« 0 'Comedia del Tnfaaiador* and the Don Joan legend," «f» XXXVII (1922), 206-212• Hendrlx, William Samuel, Son® native Corale Types in the Early janlah. Drama Colwfi3S7, , r lSf?EFsi'f| Hyid.l©s» ¥ol* I, lo# 3, Joubert, V«# "Don Juan in Zdterature and Music," jfevlm9 CXLXX (February, 1936)# 216-222* Laborde* 8* B*» 4 History of Spanish Literature. London, Hi# Heineraan x9lfX» " ' ' ' Lanoaster, H» Carrington,, "Don Juan In a French Play of 1630," PlgA, XXXVIII (1923)» 471-478* Matthews, James Brender, Mo II ere, His Life and Works, lew York, C» Scrlbner1 a ions, l9*&7~ "—^ —» MauroiSg Andre, "Don Juan," X,* Illustration* XCVT (193S)i 469~ Herlsi©#, Ernest, A History of Spanish. Literature. New York* Henry Holt* T9TE^ ' ' - Mich*ut,^G*, Lea Lattes da Mollere. Paris, Librairle Haehette, Moland, Louis, Hollere at la eoiatfdle italienne, Paris* Dldier at * Masks, miwm* and ittraeles,. Studies in to# Popular —imw^ immc, siorg® a. Mvr&rsw'c^r^iTr*— forttap, »• t«# An fro Spanish Literature» Chicago, Noslok, Martin, "tfciwmme, Ortega* and Don Juan,* Romanic 8e- ?ist, XL (December, 19^9)# 26d-2jlu 3alntsbury, George, editor* "Introduction,* Thoaaa Shadwell (ffe® Mermaid Series), lew York, Charles scrtbner' a 3ons• Sender, Raoon, "Three Centuries of Don Books Abroad* XXIII (I9k9)» 227-232• Shadwell, Yhowaa, "The Libertine,R $h» Couplet® Works of 71mm Shadwell, edited by Kiadon, 'Voi$m» Press# 1927. Shaw, George- Bernard* "To Arthur Bln^bfiis Wslfel»y#® lan and Superaan, Sew York, Brentano's* 1903» Shepard, Isabel S»» "Spain*# Great Century of pageantry and eras®,11 Praam, VIII (1918), 139-146. Sltwell, Saohewerell, Mozart, New York, D«. Appleton and Co., 1932* Strainers, Montague, editor, 0Introduction" (and other notes), ®3te Couplet* Works ofttiapas Shadwell , Vols* I and III, Telles, Gabriel (Tirso de Molina), El Burlador de Serllla# translated mm The Love-Rogue Tort;# Liefeer and Lewis, 192 jL Thompson, Stifch, Motif-Index of FoI3&>Llterature» 6 vols*, r, 1 L Blooalngton, iSlaa», 'Tiftan#^tnlvw5sily ftMles#. 1932• Tioknor. George* History of Spanish. Literature, Vols. I and III How Yok, gougfeton Htm In, Wl. Turgeon, P* E## and Gilllgan, A. C», editors, "Introduction* (to Don Juan)* The Principal Comedies of Mollire, Hew Turner. W# J*. losart. Hi# Ita afcd His Works* Sow York, Aifrod AI msprfms. 82 Wftxsaaxi, Samuel M«» *$tie Bob Juan I^gond la Llterafcux**." Journal of Aiaerleaa. Potie^Lop©, XXI (1908) , • I8i§,~20lf..<