The Don Juan Legend in Literature Author(s): Samuel M. Waxman Source: The Journal of American Folklore, Vol.

21, No. 81 (Apr. - Sep., 1908), pp. 184-204 Published by: American Folklore SocietyAmerican Folklore Society Stable URL: http://www.jstor.org/stable/534636 Accessed: 27/11/2010 08:11
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THE DON JUAN LEGEND IN LITERATURE.
BY SAMUELM. WAXMAN.
INTRODUCTION.

Don Juan has been for nearly three centuriesthe theme ALTHOUGH of a great mass of literature throughout Europe, and is known in some form or other in almost every country of the civilized world, no exhaustive criticism has been made of this interesting character, with the exception of a treatise by the eminent Italian scholar and critic, Arturo Farinelli.' He seems to be the only man who has given the subject a scholarly investigation. But he himself acknowledges that he has not treated the legend as thoroughly as one of its importance deserves. Still, what little he does have to say is of very great value, although I do not always agree with him. In his "Cuatro Palabras sobre Don Juan" 2 he suggests that some one take up the legend and make an exhaustive study of it. It is very curious that, although the legend had its origin in Spain, no Spaniard has made a critical study of the subject. Pi y Margall, Revilla,

clusions, and comparisons of Don Juan with Don Quixote and Hamlet, they become absurd. The bibliography of Dofla Blanca de los Rios is very deficient. The Germans have contributed a great deal of minor criticism, some of which I was unable to procure, but which, according to Farinelli, sheds no new light on the subject. From what I have read of these German articles, I have noticed that their critical study is " Molibre und Tellez," I am indebted for a few historical facts; and to K. Engel's incomplete bibliography in his "Don Juan Sage auf der BiUhne," for a few bibliographical dates. In French, Larroumet and Latour have been very vehement in their opinion that Marana is the real historical name of the hero, but they have built up a long discussion on supposed facts which have not been proved to be historically true. I have been able to find nothing on the subject in English with the exception of a very brief article by FitzmauriceKelley, a noted critic of Spanish literature, dealing with the musical renderings of the legend, to which I owe my facts on Don Juan in
1 "Don Giovanni" in Giornale Storico della LetteraturaItaliana, vol. 27, 1896. Z Estudios de Erudici6n, Madrid, 1899.

have written three worthand Picatoste,three Spanish pseudo-critics, less unscholarlyarticles, which have been edited and translatedinto French by Magnabal. They attemptto provean historicalbasis for the legend, but can offer no sound proofs; and with their far-fetchedcon-

prejudicedby the Faust legend. They maintain that Don Juan and Faust have a commonsource. To a short articleby A. Laun, entitled

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music. In the main, then, I have recordedonly the resultsof my own study on the theme, and have tried to presenta historyof the development of the legend in literaturefromits firstappearance Spainup to in the presentday.'
I. ORIGIN OF THE NAME.

"Es un Tenorio"is an expressionwhich is very frequentlyfound in to Spanishliteratureand vernacular, corresponding the colloquialEnglish expression, "He's a lady-killer," "He's a devil with the women." or Now, who is this Don Juan Tenorio, known to every Spaniardand to almost every one outside of Spain? Is he an historicalperson,and did he commit the crimes popularlyattributedto him, or is he simply a fictitious character,the product of some author'simagination? This questionhas been answeredby many critics,some assertingthat a person of this namereallylived in Sevilleat the time of AlfonsoXI, whereas others have denied this, and maintain that no such character ever existed. But for the most part, dritics have sided with the popular Spanishbelief, and affirmthat Don Juan was really an historicalcharacter. On this pointI agreewith Farinelli,and do not believein the existence of a Don Juan Tenorio. The Don Juan legend,in some formor other, may be traced in the folk-loreof all peoples of Europe, but it was in Spainthat it was firstgivenconcreteliteraryexpression. Muchhas been writtenon the close affinityof Don Juan and Faust, some criticsgoing so far as to assertthat thereis a commonsource. It is true that the Don Juan and Faust legends becameconfusedin the earlypart of the eighteenth century;but if we examinecarefullythe firstliteraryexpressions of each legend, it will be plainlyseen that in the inceptionthey have no connectionwith each other. Faust is essentially a thinker, a student who is willing to sell himself to the devil in order to gain knowledge. Don Juan is an actor, the incarnaterepresentation the joy of living; of he never pauses to reflect on the moralityof his deeds. Libertinism is the theme of the Don Juan legend, whereasin the Faust legend the theme is necromancyand desire for knowledgeand power; libertinism is simply incidental. the My chief reasonfor discrediting existenceof a Don Juan Tenorio is based on the fact that the name "Juan Tenorio" was not generally knownbefore Tirso de Molina2 wrotehis famous "Burlador Sevilla." de Tenorio was a common surname in Seville; but no critic has True, proved conclusivelythat there really lived a libertine Juan Tenorio during the reign of Alfonso XI. His uncle Pedro is said to have been
1 While this article was in press, there came to my notice a work on this subject by Gendarme de B6votte, entitled "La L6gende de Don Juan." of Gabriel Tellez, a Spanish writer of the Golden Age. 2 Pseudonym

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ambassadorto Naples, and his father head chamberlainto the king; but these names are nowherefound in the historiesand chroniclesof the times. I feel convinced that the name was simply hit upon by Tirso de Molina for the hero of his play. If there really existed at Seville a notoriouslibertineof that name, and Lope de Vega silent abouthim? Although why are both Cervantes Cervanteshad writtena play, "El Rufian,"whose hero bears a slight resemblanceto Don Juan, there is absolutely nothing in it which mighthave suggestedTirso's play, as severalcriticshave triedto prove. makes Again, althoughhe lived a numberof years at Seville, Cervantes no mentionof a Don Juan; and this omissionon the part of an author so well-acquainted with Spanishtraditionand folk-lore,is, to my mind, very weighty evidence for discreditingDon Juan's existence. Then is it possible that Lope de Vega, that "prodigy of nature,"could have neglected a characterso notorious,and one which a man of his marvellous genius could have handled so well? Yet in all the immense bulk of his literaryproduction name "Juan Tenorio" does not once the occur. I am willing to admit that a libertineof Don Juan's type may have the really lived in Seville, and perpetrated crimesattributedto him in tradition;but I am firmlyconvincedthat the name is purelyimaginary, andcomesentirelyfromTirso de Molina. He used the name "Tenorio" as any modern author would use a common surname for one of his characters. The fact that there is to-day a Tenorio family in Seville provesnothing. Anotherpoint which strengthensmy argumentis the fact that Juan de la Cueva,a Spanishauthorof the sixteenthcentury,himself a native of Seville, does not make Don Juan the protagonistin his play "El Infamador,"first presentedat Seville in 1581. In spite of Ticknor's statement to the contrary,I feel positivethat Cuevawas treating the same legend as Tirso in this play. In the first place, comparethe very titles "Infamador"and "Burlador,"both synonyms for "libertine." Tirso, who is knownto have lived a numberof yearsat Seville,and who probablyheard the legend in some form or other while there, adds "de Sevilla"to his "Burlador."Cueva,you will remember, a native was of Seville, and naturallyomittedthe latter part of the title. This leads me to believe there was a local legend currentin Sevilleof a libertine of Don Juan's type, who led a life of debauchery,and who was finally punishedby God for his wickedness. If, as our critics would have us and his name and deeds believe,Don Juan was an historicalcharacter, werewell knownin Seville,is it crediblethat an authorlivingin the same city would write a play with a local libertineas its hero and not give
him the name of "Juan Tenorio"? Since the burden of proof rests on the critics who believe in the existence of a Tenorio, and as they can

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offerno conclusiveevidenceto provethat he reallyexisted,we are justithat the name"Don Juan Tenorio" on fiedin proceeding the assumption was purely fictitious.
II. EARLIEST LITERARY FORMS OF THE LEGEND.

Juan de la Cueva was, in my opinion, the first writer to put this legend into literaryform. His play has very little merit as a piece of dramaticart, yet he deservescreditfor having beenthe firstto introduce this popular legend into literature. In his libertine,Leucino, he was in whomTirso immortalized his Don Juan; drawingthe same character the only differencewas that Tirso's pen was the mightierof the two. Both Don Juan and Leucino are charactersof the same type,- unand defyingthe powersof God and man. scrupulous fearlessreprobates, Both are visited in the end with a spiritualpunishment,which in the popular traditionwas the just rewardfor their crimes. Brieflytold, hereis Cueva'splot: Leucino boaststo a friendthat there is no woman in Seville whom he cannot seduce. His friend then tells him of a certain chaste virgin, Eliodora,who he feels certain will not yield to his desires. The play then goes on to tell how Leucino tries in vain to conquer Eliodora. He has Venus and Morpheuson his side, but chaste Diana and Nemesis keep faithful watch over the girl. As he has never failed in an enterpriseof this sort, Leucino considershis reputationat stake, and preparesto dishonorthe girl by force. In the attempt the brave Eliodorakills Leucino's servant. Upon the arrival of the watch, the cowardly Leucino accuses her of murder. She is carried off to prison and is condemnedto death by the magistrate; but just as sentenceis about to be carriedout, Diana comes upon the scene, reproachesthe judge for his injustice, condemnsLeucino to be cast into the river, and frees the innocent Eliodora. Throughoutthe play, gods and goddessesmingle freelywith mortals, and servantsand deitiestalk in the samenoblestrain. In Cueva'simagination there is no distinction. Althoughthe play shows no evidenceof it literaryfinish,still, in spiteof its crudeness, is not lackingin dramatic effect. The essential differencein the plot of the two plays is that in whereas the "Infamador,"as we have seen, only one episodeis narrated, severalwomenbeforehe is punished. in Tirso'splay Don Juandishonors The only other differencelies in the mannerof punishment. But Tirso de Molina was the author who, with his powerfulpen, stamped the characterof the Seville libertineand gave him the name of "Don Juan Tenorio,"in his immortal"Burladorde Sevillay Convidado de Piedra" ("The Seville Libertine and the Stone Guest"). was acceptedby the literaryworld, and Cueva's His characterization
production either ignored or forgotten. On the ground that the "Burlador" did not appear in a later collection of Tirso's plays, several

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scholarshave doubtedthat Tirso reallywrotethis play. Althougheven Farinelli questionsTirso's authorship,I believe that Tirso, and none other, is the true author. The very subjectwouldsuggestan authorof and the powerfuldramaticeffect confirms Tirso's bold outspokenness, me in this opinion. The women are Tirso's women, and there is ever of presentthe fondnessfor intriguewhichis so characteristic this author. I feel convincedthat if any scholarlycritic would take the trouble to read carefullyone or two of Tirso's other plays (for instance,his "Don Gil de las Calzas Verdes" and "El Vergonzosoen Palacio,"two very he typical plays), and then read the "Burlador," would agree with me in naming Tirso as its author. Here is the story of Don Juan's escapadesas Tirso conceivedit: At Naples, Don Juan, disguised as Duke Octavio, dishonorsthe latter's fiancde,Isabela, a royal duchess. On her discoveryof the deception, Don Juan is taken prisoner the guardsof the palace,but escapesand by fleesto Spain. Near Tarragona is shipwrecked, succeedsin swimhe but ming ashore with his servant, Catalinon. Almost dead with fatigue, he is succoredby a beautifulfisher-maiden, Tisbea, to whom he immediately makes protestationsof love. Trusting in his promiseof marriage, she yields to his desires,only to find herself dishonoredand deserted. In the second act he is back at Seville, wherehe meets an old friend, who praisesto him the beauties of his sweetheart,Dofia Ana. The traitorousJuan immediatelytakes advantageof his friend'sconfidence, and, disguisedas the girl's lover, he has almost succeededin his dishonorableattempt, when Dofia Ana's father, Don Gonzalo, appearsupon the scene. In the duel which follows, Don Gonzalo is killed, and Don Juan is again forced to flee. The followingevening we find him at a rural wedding-feast,where he succeedsin getting the bridegroom of the way and in seducing out Aminta,the bride. While passinga cemeteryon the outskirtsof Seville a few days later, our hero sees an imposingstatue, on which he reads, "Here the most loyal servantof the Lord is waitingto avengea traitor." The fearlessJuan then recognizeshis victim, and, with his customary sacrilegiousness, pulls the beard of the statue, tauntinglybidding him to come to supper at his house that evening. Hence we get the subtitle, "Convidadode Piedra" ("The Stone Guest"). Not giving the matter a second thought, he is dumbfoundedwhen at the appointed time the statue arrives. But he soon recovershimself, and upon Don Gonzalo'sinvitationto take supper in the sepulchrewith him on the following evening, nothing daunted, he accepts. On his arrival the statue tells Don Juan that his hour has come, and asks for his hand.
The contract with a supernatural being proves fatal, and Don Juan falls dead. Here is the climax, and here the play should end, but Tirso adds another scene. In the palace, Isabela, Tisbea, Ana, and Aminta

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are all appealingto Alfonsofor redress,when Catalinonburstsin, and describeshis master'sterribledoom. dramatically After reading both these plays, we can very easily see why Cueva's "Infamador" has been forgotten. Full of unnecessarycharactersand it to long digressions, becomeswearisome the reader. Tirso,on the other hand, infusesnew life into his play. Here we find a living Don Juan, a bold devil-may-carevillain, who, in spite of his constant crimes, can still hold the reader'sadmiration.Fromhis own lips we get his character in its true light, when he boastfullydeclares,
Sevilla d veces me llama El Burlador, y el mayor Gusto que en mi puede haber Es burlar una mujer Y dejarla sin honor."

In Tirso's Don Juan thereis nothingof the hypocriteor coward;that was the distortionof later authors. Strangeto say, Tirso's play has defied all rivalry;and, in spite of the fact that the subjectwas treatedagain de and again throughoutEurope,"El Burlador Sevilla"has neverbeen Even if Tirso de Molina had writtennothing else, his fame surpassed. would have been assured by this one play; for to have given a characterto the world,to have given a name to a type, - a name whichhas into the Spanishvocabulary, is indeed a actuallybeen incorporated can at least boastof two world-known greatglory. Spain characters, Don Quixote and Don Juan; yet when Don Quixoteis mentioned,the name of Cervantesis always associatedwith it, but how many to-day connect Don Juan with Tirso de Molina? Tirso may or may not have been acquaintedwith Cueva'splay; there is certainlynothingin the "Burlador"to indicatethat he had seen the "Infamador;" but I insist again that both plays had one common source,a legend,currentin Seville,of a libertineof the Don Juan type. The form of retributionbrought down upon both- death brought about by supernaturaJ power- is a very commonelement in Spanish tradition. In no othernation of the world,I think, does the supernatural have a strongerhold than in Spain,- a fact which brings me to anotherinterestingpoint. I believethat Tirso, in his last act, made use of an entirely differentlegend. I refer to that of the talking statue, which is not at all unknownin Spanish folk-lore. Lope de Vega uses it in his "Dineros Son Calidad;" Becquer,a nineteenthcenturywriter, uses it in his legendary story "El Beso;" and it was not at all unnatural in that Tirso de Molinashouldhave utilizedit to good advantage punishhis waywardDon Juan. But I feel certainthat the two legendshad ing not been connected in any way before Tirso wrote his "Burlador," to wherethe statue legend is skilfully incorporated supply the manner
At times they call me in Seville "The Libertine," and my greatest pleasure is to deceive a woman and leave her dishonored. - Burlador, Act II, Sc. 7.
1

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of punishment.A strongargument favorof this belief lies in the very in name of the drama:"El Burlador Sevillay Convidado Piedra,"-' de de the first the protagonist, Seville libertine,and then the stone statue. If the play had been baseduponone singlelegendin which Don Juan and the stone statuehad both figured,I do not think it probablethat Tirso would have added the latter part of the title. Severalcritics have maintainedthat Tirso's play was suggested by Lope de Vega's" DinerosSon Calidad." Even Ticknor,in his "History of Spanish Literature,"says, "The rudimentsof this character[Don Juan]had beenfirstbroughtuponthe stageby Lope de Vegain the third act of 'Dineros Son Calidad."' 1 But this statementis absolutelyfalse. In a collectionof playspublishedat Barcelona 1630, entitled"Twelve in Plays by Lope de Vega Carpio,and OtherAuthors,"appearedfor the first time, as seventh in the collection,the "Burlador,"giving as its author Tirso de Molina. On the other hand, Lope's "Dineros Son Calidad"did not appearuntil 1632, in Madrid,as the ninth play in the "Twenty-FourthPart of the Plays of the Phcenixof Spain, Lope de Vega Carpio." In additionto this fact, whichin itself makesabsurdall discussionthat Tirso borrowedfrom Lope, Octavio, Lope's hero, and Don Juan have nothingwhatsoever common,with the exceptionthat in both are fearlessmen and are not terrifiedby a supernatural statue. I might turn the tables on these critics, and say with perfectjustice that Lope borrowedfrom Tirso; but I am inclinedto think that both were drawingfrom a commonsourcein theiruse of this talkingstatue, as in other respectsthe two plays have absolutelyno points of similarity. What leads me to believe this is the strikingresemblance the diaof logue in the statue scenes of both plays. Both Don Juan and Octavio taunt a statue, provokeit to speak. Octaviosurviveshis adventure; but in Don Juan'scase the experiment fatal, as we have alreadyseen. proves When Octavioclasps the hand of the King of Naples, he cries out, Ay! Ay! Vl1game Dios! Ay! Que me abrases! Suelta! Suelta! Muerto soy! 2

when he touchesthe Comparethese lines with Don Juan'sexclamation hand of Don Gonzalo'sstatue: Que me abraso! No me abrases Con tu fuego . . . Que me quemo, que me abraso; Muerto soy.3

1 Vol. ii, p. 324.

* Oh! Oh! God help me! Oh! You are burning me, stop! stop I am dead. (Act II, Sc. 4.) 3 I am burning! Don't burn me With your fire . .. I am burning, I am burning, (Burlador, Act III, Sc. 21.) 1 am dead!

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The idea that a cold stone statueshouldin bothcases producea burning sensationis so extraordinary, that I feel convincedthat both authors were either drawing from the same legend of a supernaturalstatue, or that possiblyTirso's scene suggested, Lope's. Inasmuch as another version of the play exists, some critics have doubted the authenticityof the "Burlador." In 1878, Manuel de la Revilla discovered new version,entitled"Tan Largome Lo Fiais," this Andresde Claramonte, by publishedat Madridin I657. It is obviously not a revisionof the "Burlador,"nor is it possiblethat the "Burlador" is a revisededitionof this play. Both have identicallythe same plot and scenes,except that in the "Tan Largo" the scenesruninto one another, thus making a smallernumberthan in the "Burlador." In some parts the versificationis identical in both plays; but where it differs, the is thoughtand importstill remainthe same. Anotherdifference that in the "Burlador" the names of more charactersare given than in the "Tan Largo." For instance,while the "Burlador"gives the names of minorcharacters, "Tan Largo" leavesthemout. In the formerplay the the acts are called "Actos;" in the latter the older form " Jornadas"is used. The only essential difference in the two plays is that in the "Burlador"there is a long description Lisbonin the firstact. In the of "Tan Largo" this is omitted,and at a suitableoccasionin the second act a beautifuleulogy of Seville is substituted. AlthoughI was in doubtat firstas to whichwas the authenticversion, aftercarefullyreadingthe playsseveraltimes,I decidedconclusively for the "Burlador." By closely comparingtextual differences,I noticed that the "Tan Largo" was decidedlyinferiorin style and dictionwhen it departedfrom the "Burlador." I believe that this Claramonte(who was an actor and native of Seville, which accountsfor the substitution of a descriptionof Seville for that of Lisbon) plagiarizedTirso's play, which seems to have been forgottenfor a time, and publishedit under the new title, "Tan LargoMe Lo Fiais" ("Do you trustme as much as that?"). This is a favoriteexpressionof Don Juan, occurringseveral times in both plays,- his ironical jeer at the women he has betrayed. Other critics have maintainedthat this play was writtenby Calderon, as his name appearson the title-page. They attemptto prove this by as was citingexampleswhichgo to showthat Calderon not so scrupulous scenes from other plays. But his defendershave declaredin borrowing in the case of a wholesalesteal, as is exemplified here, I think Calderon was above that. is Most criticshave agreed,however,that the "Burlador" the authentic version,althoughit is far from being in as accuratea state as they would like to have it. This is the version printed in the "Biblioteca
Espafiola," in Ochoa's "Teatro Espaiiol," and in an execrable edition of Tirso's works (Madrid, 1869). Cotarelo y Mori says that the texts of

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both plays are corrupt as they now exist, but favors the "Burlador." Menendez y Pelayo follows out Cotarelo y Mori's opinion, and adds that the two long descriptions of cities are both spurious additions to the original texts. As editors have taken great liberties in their attempts to purge the plays of later redactions, it is a very difficult matter to decide a question like this without having recourse to the original editions.
III. LATER RENDERING OF THE LEGEND.

Translations of Tirso's "Burlador" met with immediate popularity throughout Europe, although it was unknown in the original. It first appeared in Italy, where a number of translations were made, the most important being that of Gilberti, published at Naples in 1652, under the title "I1 Convitato di Pietra." This translation was not an accurate one, and several liberties were taken with the text. The Italian theatrical troupes soon took it up, and, seeing its great dramatic possibilities, changed it still more to suit their own tastes. In 1667 one of these troupes carried the play to Paris, which at that time was regarded as the centre of culture of Europe. In Paris the performancesof the play were received with unbounded enthusiasm. French playwrights and actors immediately became interested in Don Juan, and wrote several plays based on the legend, or, rather, made French versions of the corrupt Italian translation. In I658, Dorimond, a Parisian actor, wrote his " Festin de Pierre." He took " Convitato" to mean "feast," and for "Pietra" he read Petro (Peter). His title therefore reads, "Peter's Feast." He obviously does not mean "Stone Feast," because, instead of a stone statue, he introduces the shade of the murdered man, and calls him " Dom Pierre." The author changed the plot somewhat to suit the popular fancy, but in general the play is a servile imitation of the original. The character of the hero has nothing in it to hold our admiration, and the grandeur and force of Tirso's supernatural scenes are completely lost. De Villiers' play, "Le Fils Criminel," published in i66o, is a free French adaptation of the Italian translation. Finally, so great was Don Juan's popularity that it awoke the interest of Molire, and in i665 he published a play entitled "Don Juan, ou le Festin de Pierre." He only partly mistranslated the Italian; and his title reads, "Don Juan, or the Stone Feast." He translated "Convitato" incorrectly, but got "Pietra" right. Now for the first time in its history the name "Don Juan" appeared as the title of a play based on the legend. Through Moliere, Don Juan was introduced to the rest of Europe. Moliere, the great French author, had written a play; therefore his characterization of Don Juan was universally accepted. I dare say that the majority of English-speaking people are acquainted with Don Juan only through Molibre and Byron; but after reading Molibre's "Don Juan," I was greatly disappointed. From an author of his reputa-

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tion one wouldexpectsomethingfar betterthanthe mediocreproduction he has written. Althoughin many respectsMolierefar outshinesTirso de Molina,in this case Tirso has, in my opinion, outdone the great French author. Black as Don Juan's characteralreadywas when he left Tirso's hands, Molibrehad to make him a hypocrite,a "Tartuffe,"and a cowardin addition; and the worldhas acceptedDon Juan in this light. Although Tirso's Don Juan is repellent from some points of view, we still can admirehis fearlessness thereis nothingcringingabouthim. Also in his handling of the statue scenes, Moliere has failed to arouse that feeling of majesty and awe so well developedby Tirso. From its lack of finish,I think Molibrewrotethe latter part of his play in greathaste. The only redeemingfeaturesare the two characters, Elvire, Don Juan's the wife, and his servant,Sganarelle. A masterin portraying jester, he has made his Sganarellethe equal of any of his comic characters. In a Elvirehe has introduced pure,lovablewife, who triedto influenceDon Tirso, who could not Juan to lead a betterlife. This was transcending portraya womanin a favorablelight; but, on the whole, Tirso's play is far in advance of Molibre's. The French writer has changed Tirso's plot somewhat,but in generalhe has followedthe thread of events as given in the originalSpanishplay. Thomas Corneille's version,publishedin 1667,is, as he himselfstates in in the preface,merelyan arrangement verseof Moliere'splay, with a few slight changes; but wheneverhe does venture to be original,he spoils the effect. In 1670, Rosimond, a French actor, wrote another of play, entitled"Le Nouveau Festinde Pierre,"which is an adaptation the three preceding Frenchplays. In some places, phrases are taken bodily from Molibre's"Don Juan." But all these French versions, based on corrupt Italian translations of Tirso's play, are, as Fitzmaurice-Kellyaptly says, "but pale reflectionsof Tirso's 'Burlador."' From France,Don Juan'spopularityspreadall over Europe. Translations of the French plays were made in almost every language. In Germanyseveral were made of Molibre's"Don Juan," and countless based on the legend. But the charactersof plays and novels appeared Don JuanandFausthave beensomewhat confusedin the Germanmind; and it is a very difficultmatter to distinguishwhat is connectedwith Don Juan, and what is not. In England, Shadwell took the already Don Juan, and in his "Libertine,"pubdistortedand misrepresented lished in 1676, presentedone of the vilest, most inhumanwretchesever " characterized.For gross filth, Shadwell's"Libertine surpassesby far all other renderingsof the legend. Full of fire, rapine, and murder,it
would horrify the most extreme melodramatic taste. And Don Juan had to suffer for all this. Primarily he was an unscrupulous rake, defying all moral and human laws; but he was not a highway robber, an incendiary,
VOL. XXI. NOS. 81-82. 13

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and a cringing hypocrite. This degraded Don Juan soon became popular among the lower classes of Europe, and, descending one degree lower than the melodrama, he was made the hero of puppet-shows and marionettes. In the eighteenth century, the only two renderings worthy of note were by Zamora in Spain and Goldoni in Italy. Since Tirso's "Burlador," nothing in Spanish had been written for half a century on the subject which had become so popular throughout Europe. While Zamora is to be given credit for having helped keep the tradition alive, his play is absolutely devoid of any dramatic ability, despite the praises of Moratin, Ticknor, and other critics. Where it is not a servile imitation of Tirso's play, the author has introduced a series of complicated episodes, and handles his plot so awkwardly that it is impossible at times to follow the course of events. In a word, it is tiresome reading. The very title will give an illustration of its prolixity: " No Hay Deuda que no se Pague, ni Plazo que no se Cumple, y Convidado de Piedra." I This was published about 1700. In 1736, Goldoni, the great Italian dramatist, published his play, "Don Giovanni, o sia II Dissoluto." This goes back to Tirso's conception of Don Juan, and was probably based upon an accurate translation of the " Burlador." It is not one of Goldoni's best works. It follows Tirso's plot closely except in the last act, where Don Juan is killed by lightning, the statue scenes being entirely eliminated. Although not so many versions of this popular legend were made during the eighteenth century as in the preceding, Don Juan's popularity was not diminished one whit. He was continually seen on the stage in all parts of Europe, and it was during this century that he was introduced into music. Although I have not investigated deeply into this development of the legend, there must be mentioned among the most important musical renderings of Don Juan, Gluck's ballet of 1760, and the great Mozart's " Don Giovanni" of 1787. Considered a very poor production at first, even Beethoven condemning it, "Don Giovanni" was judged later at its true worth, and is now universally recognized as one of Mozart's masterpieces, if not his finest work. Goethe once said that he was sorry no Mozart was living to do for his "Faust" what that great musician had done for Don Juan; and to quote from another master, Wagner said there was nothing in music more completely beautiful than every piece in Mozart's "Don Giovanni." The libretto was written by Da Ponte, an Italian, and was modelled after Goldoni's "Don Giovanni," except that the statue scenes were retained. The action easily lends itself to music, and in the hands of the master, Mozart, it far surpassed any literary rendering the legend had received since Tirso's "Burlador." To my mind, it contributed much towards the elevation
1 There is not a debt which remains unpaid, nor Day of Reckoning which does not come, and the Stone Guest.

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from high-classliteratureto meloof Don Juan, who had deteriorated drama and puppet-shows.
IV. DON JUAN OF THE NINETEENTH CENTURY.

Up to the nineteenth century, all renderingsof the legend had followed Tirso's "Burlador,"and in many cases no new situationshad been introduced. But now Don Juan undergoesa completetransformation: he becomesthe creatureof the author'sfancy, and in some cases beenchanged, nothingbut his nameremains. Not only has his character is but his environment entirelynew. What themecould appealmoreto the Romanticistthan that of Don Juan? What characterin literature of could expressmore fully the wild passion and unrestraint poets like cenand de Musset? The authorsof the nineteenth Byron,Espronceda, saw the dramatic and poetic possibilitiesof Don Juan, and he tury becamethe subject of countlesspoems, plays, and novels. It would be impossibleto enumerateand discussthe vast amountof Don Juan literature written during the nineteenthcentury; but I shall try to present the most importantworks, and show the general developmentof the legend. Following closely upon the eighteenth century, the first author to revivethe theme was the Germanromanticist,E. T. A. Hoffmann. As he listens to Mozart's opera, he gives a psychologicalanalysis of its characters,weavingin fantastic,morbidelements. His characterization is veryhazy, and in fact thereis too much Hoffmannand too little Don Juan. His story first appearedin 1812, and became very popularin and Germany Franceat a time whenthe authorwas greatlyadmiredand imitated. His sketch popularizedand to a great degree distortedthe conceptionof Don Juan. The firstgreat treatmentof the legend in the nineteenthcenturywas Byron's poem "Don Juan,"- an epic poem, as Byron liked to call it. in This workappeared 1824.1 To be sure,the nameof the poemis " Don but in the herowe have an entirelynew character.His birthplace Juan," but is Seville,andhe is a profligate; if it werenot forhis name,we should neverrecognizein him the Don Juan of legendaryfame. The poemis in sixteen cantos, and ends rather abruptly. It is evidentlya torso; and Byron probablyintendedto write twenty-fourcantos, which would be followinghis plan of writingan epic. He himself said that he intended to have Don Juan guillotinedin the French Revolution, a fact which substantiatesthe belief that the poem is unfinished. This new Don Juan is a young Spaniardof the latter part of the eighteenthcentury, a youth of the Byronictype. In fact, Byron'sDon
Juan closely resembles himself, and he excuses his hero's immoral deeds
Byron's death, in 1824.
1 The first canto was written in 18x9; but the last was not published until shortly before

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in much the same way as he would his own coarse pranks. His Don Juan does not conquer women by promises of marriage and subterfuge, as in the case of Tirso's Don Juan, but by his handsome bearing, ready wit, and magnetic personality. He does not go out in search of new conquests; fate and his own personal charms draw his fair victims into his power. "More sinned against than sinning" is the opinion that Byron would like us to have of him. This poem has been called, and I think justly, an "Odyssey of Immorality." Furthermore, it is full of local anecdotes and satires dealing with the events and people of Byron's day, which often interrupt the thread of this "Odyssey," and make it very tiresome for the reader unacquainted with the contemporary history. For this very reason I do not think Byron's "Don Juan" will survive many generations. The chief value of the work lies in its flashes of beautiful lyric poetry, and its mordant and witty satire. But taken as a whole, though it is no doubt a masterpiece, I do not think it is of very great importance as a literary expression of the legend; it belongs rather to English literature in general than to Don Juan literature in particular. In France during the first half of the nineteenth century Don Juan's popularity was immense. He was treated in some form by almost every French author. In spite of this fact, no masterpiece was produced, as in Spain and England. De Musset, the French Don Juan, in such poems as his " Nuit d'Octobre," "Rolla," "La Coupe et les Levres," gives us his own passionate outpouring in the Don Juan vein. In his play "Namouna" he gives a separate scene, entitled "Une Matin6e de Don Juan." Gautier, in his "Comedie de la Mort," contributed another poem to this series. "L'Elixir de Longue Vie" is Balzac's contribution; and Flaubert also left a posthumous sketch of a novel, entitled "Une Nuit de Don Juan." The tendency toward change and novelty, manifested to so great an extent in the Romantic movement, is well exemplified in the Don Juan theme. Don Juan is given a new name, - Juan de Marana. Various critics have imagined that they have incontestably proved that this is the historical name of the famous libertine. But as far as I have been able to discover, a Juan de Marana, a profligate count, did live at Seville in the seventeenth century, but later than the publication of the "Burlador." In their desire to prove an historical basis for the legend, they have simply hit upon the name of a man who lived the life of a libertine in Don Juan's native city. Contrary to the old conception, this new Don Juan finally relents before his death. Thus for the first time we have a conception of a repentant Don Juan; and when the two characters Tenorio and Marana became confused later, the former was also made to repent. The French were the first to introduce this change, and the new name appears for the most part in their contributions to the theme. The Spaniards retained the old name Tenorio, but adopted the new elements introduced.

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The first literaryexpressionsin France of this new character or - was M6rimde's"Ames du rather, old characterwith a new name Purgatoire,"which first appearedin 1834 in the "Revue des Deux Don Juanis a saintlyyouthat homein Seville,but Mondes." M6rimde's of when sent to the Universityat Salamancamakes the acquaintance a profligatestudent, Don Garcia,with whom he leads a wild and riotous life. Don Juan kills the fatherof his mistress,and the two companions are forced to flee. They enlist in the Spanisharmy at Flanders,where they continuetheirwild escapades. In the attemptto kill Don Juan, the man kills Don Garcia. Soon after, upon the death son of the murdered of his father, the hero is recalledto his estate, wherehe still continues his life of debauchery. In his blusteringmannerhe gives a list of his that no class of womenis not victims,and boaststo his booncompanions whichone pointsout that a nun is lacking,whereupon upon represented, Don Juan immediately aboutto supplythis lack. The nun in quessets tion turns out to be Teresa, his old love, whose father he killed, and whose brotherkilled his friend Garcia. She still loves him, and tries to makehim give up his wild life; but he paysno attentionto her entreaties. Just as he is about to abducther, he is confrontedby the shadesof his parentsand dead victims,"Les Ames du Purgatoire."This visionterrifies him to such an extent that he renouncesat once his criminalway of living and turns priest. A few monthslaterhe is forcedinto a duel, and made an attempton his slays the brotherof Teresa, who had previously a of life. He ends his daysin a monastery, devout and belovedminister God. It is a verywell told story,full of life and action,but lacks psychologiof cal analysisof character.We get a verydim perception the trueheart as of the hero; and thereis nothingin him to hold our admiration, in the And again,it is impossiblefor us to case of the Spanishcharacterization. villaincould becomea pious priestin one conceivethat an unscrupulous lies day. I have given the plot in detail becauseits chief importance in the fact that it became a storehousefor future adaptations. In this new conceptionof the libertinewe may detecttwo innovations which are not entirely original, and which may be found in Moliere's play. These are the brotherwho comes to avengehis sister'sdishonor, and the conceptionof a spiritualwomanwho reallyloves Juan and tries to make him repent. "Juan de Marana" of Dumas pere is the most important French work which carries out this new characterization of in whichis of any importance the development the theme. " Juan de Marana,ou la Chuted'un ange" is a play in five acts and nine tableaus,
written in 1836. The plot is original; that is, a development of the new elements put into an entirely new setting. A faint glimpse of the "Burlador" still remains combined with a few suggestions from Molibre and Mdrimde. Add to this some elements of the Faust legend, and we can form an idea of what Dumas' play is like.

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Althoughthe authorhas madehis herofinallyrepent,in the mannerof the exaggeratedFrench school, he has added such atrocitiesto Don that it seems all the in Juan's blackcharacter, many cases unnecessary, that a man of his type shouldso easily repent. As in moreincongruous Faust, the authorhas introduced spiritualbeings,but they fall far short of the sublimityand majestyof Goethe'sor Calderon's spiritualfigures. crimes and situations,coupled with The result is that the exaggerated have madethe Dumas'lack of skill in handlinghis spiritualcharacters, like worksomewhatmelodramatic, most of the Frenchplaysof the time. As I must compareDumas' plot with that of Zorrilla,which follows, it will not be out of place here to give a briefoutlineof it. Dumas' Don character. nobleof Seville,a weak,vacillating Juanis a youngprofligate In his consciencethereis a continualconflict,symbolizedby a good and bad angel, the latter almostalwaysthe stronger. Althoughseveraldishonoredyoung girls have killed themselvesin despair,deceivedby his in promisesof marriage,Don Juan leaves Sevillegay and light-hearted of searchof new victims. At a town near by he seduces the sweetheart his brotherJos6, and the girl commitssuicide ratherthan live in disDon Juan is grace. On the followingday, at an appointedrendezvous, declaredking of libertines,as his list of victimsis the longest. But one refusesto yieldthe palmto Don Juan; of the company,Luis de Sandoval, and him to seducehis own betrothed, to abducta nun from he challenges and convent. Don Juan is successfulin the firstendeavor, a neighboring to his senses,had rushedto save his fiancee slays Sandoval,who, coming from the clutchesof the godless villain. He also succeedsin abducting the nun, wheedlingher with his diabolicalfascinations.But she is a will to noblegirl, and, resolving savehim fromperdition, not forsakehim of his attemptsto abandonher. Then ensues a sharp conflict in spite betweenhis good and bad angels,but Don Juan still remainsobdurate. Finally the shades of all his victimsappear,and warnhim in turn that but by they will be avenged. He is terrified these apparitions, is soothed the nun Marthe,who succeedsin winninghim over to the kingdom by or of heaven. In the hands of a writer like Shakespeare Goethe,this of of Dumas would have been one of the masterpieces the world's play but as it is, it falls far short of being a great literarywork. literature; Until I had read Dumas' "Juan de Marana,"I had given credit to in Zorrillafor a great amountof originality placingDon Juan in an ennew environment. Blanco Garcfa,in his "LiteraturaEspafiola tirely en el Siglo XIX," like many other Spanishcritics,gives the impression that "Don Juan Tenorio" is Zorrilla'sown conceptionof the legend; of play is nothingbut a combination but, so far as I can see, Zorrilla's
Tirso's "Burlador" and Dumas' "Juan de Marana." His plot is partly that of Tirso, and partly that of Dumas; but his Don Juan is not the weak creature of Dumas - he is the bold, defiant libertine of Tirso.

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this Zorillawas a Spaniard,and knewhow to characterize purelySpanish conceptionof Don Juan. I do not mean to imply that his play is a servile imitation,- he has woven together the elements of preceding plays in such a way as to make his work seem original,- but by the careful readerit may easily be seen that his situationshave been borrowed. I wish to lay great stress upon this point, in refutationof the boast of Spanishcritics, who are loud in their praisesof Zorrilla's origito nality, and make no mentionwhateverof his indebtedness preceding authors. The play is in two parts,- four acts in the first, and three in the second. With true Spanishinsight the authorhas retained,as I have said, Tirso's conceptionof Don Juan; but he has changed the time from the twelfthcenturyto the sixteenth,duringthe reign of CarlosV. The opening scene is borrowedfrom Dumas, where Zorrilladescribes who have assembledto give an account a meetingof severalprofligates of their conquests. Don Juan is declared winner, but as in Dumas' him his superior play, one man, Luis de Mejfa,refusesto acknowledge until he has seduced his sweetheartand abducteda nun. In this case the nun is Don Juan'sown betrothed,Inds,whosefather,Don Gonzalo, has placed her in a conventto assureher safety againsther unscrupubut in the attemptkills lous suitor. He succeeds in both enterprises, both Mejia and Gonzalo; Inds dies heartbroken. The second part is more original,though the idea of a repentantDon Juan is not entirely new. In Zorrilla's play we have the firstsuggestionof love in Don Juan. he Heretofore neverhad any feelingof love for women;he simplylooked upon them as a meansof satisfyinghis passion. But herehe reallyloves In6s, and weepsat the sight of her grave. In the same cemeteryhe finds the statue of Don Gonzalo,which he invites to supper,thus following the old legend. Gonzalocomes, and in turn asks Don Juan to come to his sepulchreon the followingevening. The latter, as in Tirso's "Burlador,"accepts. There Don Gonzaloannouncesthat he has been sent to conducthim to Hell; but, just as he is about to do so, the shade of In6s appears, and rescues him from eternal perdition. In the hands of Zorrilla,the play is more powerfulthan in the hands of Dumas. The religious note struck the Spanish fancy, and it has become one of the most popular plays of the nineteenth century in Spain. It is performedon all festival days, and has become endeared to the heartof every Spaniard. I do not think it has any great literary lyricalbeauty,have value; but the verysubjectitself, and its undeniable won it immensepopularity. It is far morewidely knownin Spain than Tirso's "Burlador," which has suffered a great deal from neglect. Zorrilla,who is famousas a poet of folk-lorein Spain, has also written a long poem entitled"La Leyendade Don Juan," which does not bear on the legend as we know it. It is an exquisitebit of lyric poetry,with

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its delightfuldescriptionof gay Seville of old. This same authorhas also written two minor poems based on the legend,- "El Desaffo del Diablo" and "El Testigo de Bronce." Since Byron had writtena poem on Don Juan, it was not at all unnatural that his admirerand follower, Espronceda,the great Spanish romanticist,should take up the same theme; but let me say in Espronceda's defencethat the two poemshave absolutelynothingin common. They differas widely as two poems possbilycan, both in their conception of Don Juan, and in style and setting. Chronologically, Espronceda's poem should have followed Dumas; but as I wanted to comI pare Dumas and Zorrilla, discussedthem in succession. Espronceda's "Estudiantede Salamanca"appearedfor the first time in a collection of his poems publishedin 1840. Somecriticshave maintainedthat Espronceda'sDon Juan is a portraitof himself, but I think that is going too far. Esproncedawas not a saint; but he was not as ruthlessand fiendishas the hero of his poem, Felix de Montemar,"el segundoJuan Tenorio," whom he describesas follows:Siempre el insulto en los ojos, En los labios la ironia, Nada teme y todo fla, De su espada y su valor.'

"El Estudiante de Salamanca"is a dramatic poem in which the author has made use of every form of poetry conceivable. The form in generalis that of a lyric poem, but in several places dialoguesare introduced,giving it the form of a drama. With his wonderfulpoetic skilfullychangeshis metre,and createsa profound genius, Espronceda on mind. It is one of Espronceda's masterpieces, impression the reader's in and to my mindrankssecondonly to Tirso's "Burlador" its powerful portrayalof Don Juan. It is refreshingto meet again in this poem the Don Juan of old, the Don Juan of Tirso, the fearlessand daring libertine. Although, as in MWrimbe's novel, the hero is a student of Salamanca,and in the end relents, there is not the faintest suggestion of "Les Ames du Purgatoire"in Espronceda'spoem. The setting is entirely original, and the plot has nothing in common with the old tradition,but the characterof the original Don Juan is still retained. AlthoughDon Felix persistsin his iniquityto the veryend, he is finally united in a spiritualmarriagewith Elvire, a maid who died through love of him. Strangeto say, althoughit is closer to the originalin its of characterization Don Juan than Byron's poem, Espronceda's"Estudiante" is not regardedprimarilyas an importantpart of the series of Don Juan literature,but as an exampleof beautifullyric poetry.
1 An
insult ever in his glance, On his lips, irony; Nought he fears, and trusts all To his sword and valor.

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of The only otherimportantliteraryrenderings the legendin Spanish are "El Nuevo Don Juan," by Lopez de Ayala, publishedin 1863, and a poem by Campoamor. Ayala's play has nothing to do with the old legend. It is simply a comedy of manners,in which a profligateyouth of the Byronic type tries to dishonorthe wife of an acquaintance. It has very little interest, and is by no means one of Ayala's best plays. has Campoamor writtena charminglittle poemin two cantos. The first is entitled "Womenon Earth;" and the second,"Womenin Heaven." The first canto is supposed to be a continuationof Byron's "Don Juan," who now, in his old age, repentsof his wickedness,and writes to each of his former sweethearts,begging forgiveness. The scene of the second cantois laid in Heaven,where Don Juan has to face the of reproaches his victims. Only one still trusts him: Julia, his Spanish love, who remainedtrue to him on earth, in spite of his wickedness, now stands by him in Heaven. there are countlessothers in every modern Besides these renderings, but none of them has attained an importantplace in the language; literatureof its respectivecountry. As may be seen by my bibliography, Don Juan is still alive in literature. The Germanshave contributeda great amount of Don Juan literature;but Faust and Don Juan have becomeso confusedin the Germanmind, that I have not attemptedto of discussthe Germandevelopment the theme. This confusionis exemthe very title of Grabbe'splay, "Don Juan and Faust." The plifiedby only other German productionsof any great importanceare Lenau's poem "Don Juan," and Heyse's play "Don Juans Ende." In Russian, Pushkinhas contributeda play "Don Juan;" and in our own tongue Richard Mansfield has written a play entitled "Don Juan," a very mediocre piece of work, entirely lacking in originalityand dramatic effect. In "Man and Superman"BernardShawhas offereda verywitty burlesque,which might have been entitled"Don Juan Upside Down." Thus we have traced Don Juan from his first appearancein Seville in 1630 down to the present day. First introducedto us under that name by Tirso de Molina,he travelledall over Europe,until he became known in every country. Strangeto say, the authorwho stampedthe characterof Don Juan has been comparativelyignored: Don Juan is known principallythrough Molibre,Mozart, Byron, and Zorrilla. First presentedon the boards,later put into music,and finallya subject for Romanticpoetryand fiction,Don Juanhas becomea familiarfigure. Known to the more culturedby these means,he has becomea favorite among the lower classes throughpuppet-shows.
In a far different way, Don Juan, a purely Spanish creation, has become as world-famous as his compatriot, Don Quixote. The latter has given Cervantes a name, but who outside of students of Spanish

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ever heard of Tirso de Molina? Even the little fame he does literature him by the critics,who have tried to make has been begrudged possess de Vega, and Calderonshare the fame which belongs Cervantes,Lope to him alone. I contendthat Tirso's Don Juan is a character masteras Hamlet or Goethe'sFaust. To be sure, drawn as Shakespeare's fully I shouldnot placeTirso de Molinaon as high a pedestalas Shakespeare; of but in this one case, in drawingthe character Don Juan, he certainly attained the level of the English dramatist. Let us hope that in the near futuresome recognizedscholarwill establishthis fact, and bestow upon Tirso de Molina the fame so long withheldfrom him.
BIBLIOGRAPHY AUTHOR. Cueva ....... Tirso de Molina . . Gilberti . . . . . . . . . Cicigogni Claramonte . . . . Dorimond . . . . De Villiers . . . . Moliere ....... Thos. Corneille . . Rosimond . . . . . . . . Shadwell Perucci . . . . . Purcell . . . . . . . . . . Velten Tellier . . . . . Brunn . . . . . Goldoni . . . . . Zamora . . . . . ....... Gluck Kurz-Bernardon . . Knecht ....... Rhigini . . . . . Ozell . . . . . . Lorenzi . . . . . . ...... Albertini ... . . . . . Gardi Mozart (Da Ponte) . Czaniga . . . . . Fabrizi . . . . . Cimarosa . . . . Haydn ....... Pocock ........ Castel-Blaze . . . . . Benzel-Sternan E. T. A. Hoffmann . Hauch . ......... Carnicer . ........ Byron . ........ Schaden ....... OF DON JUAN LITERATURE AND MUSIC. DATE. . . I581 630 1652 1657 I657 . I658 . I66o I667 1670 1676 I678 69o 1690 1713 i734 1736 744 I770 1772 1782 I784 1787 1787 1787 1788 I1790 1804 . 1817 .I1821 . 1811 1813 1814 I818 1819-24 1820 . . . . . .
1783 I777

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

. . . . . . . . . .

. . . . . . . .

TITLE. Infamador (play) ........... Burlador (play) ............ Convitato di Pietra (trans. of Burl.) . . . . Convitato di Pietra (trans. of Burl.) ..... . . . . . Tan Largo Me Lo Fiais (play) . . . . . . . . Festin de Pierre (play) Fils Criminel (play) . . . . . . . . . Don Juan (play) ...........1667 Don Juan (play) .. .......... Nouveau Festin de P. (play) . . . . . . The Libertine (play) . . . . . . . . . Convitato di P. (play) . . . . . . . . . The Libertine (opera) . . ... . . . . .. . Don Juan (trans. Molibre) . . . . . . . Festin de Pierre (opera) . . ......... Pravita Castigata (opera) . . . . .... Don Giovanni (play) . . . . . . . . . No Hay Deuda, etc. (play) . . . . . . . Don Juan (ballet) .... ......_.1760 . . . . Der Ruchlose Juan de Sole (play) Don Juan (farce) ........... Convitato di P. (opera) . . . . . . . . Libertine (play. trans. Mol.) .. ....... Convitato di P. (play) . . . . . . . . . Convitato di P. (opera) . . . . . . . . Nuovo Conv. di P. (play) . . . . . . . Don Giovanni (opera) . . . . . . . . . Cony. di P. (opera) . . . . . . . . . Don Giovanni Tenorio . . . . . . . . Convy.di P. (opera buffe) ......... Don Juan (play) ........... Libertine (opera) ... ......... Don Juan (comic opera) . . . . . . . . Steinerne Gast (play) . . . . . . . . . . Don Juan (short story) .-.... ......... . . .. Don Juan (play) ........ Don Juan Tenorio (opera) ..... ....... Don Juan (poem) .......... Deutsche Don Juan (play) ........

. . . . .

. . . .

The Don .7uan Legend in Literature.

Moncrieff ...... Kahlert ....... Balzac .. ..... Merim6e ........ Holtei ....... Dumas pere ..... Creizenwach ..... De Musset ....... Gautier .. ...... Espronceda ....... Herberg ....... Levasseur .. ... Viard ....... Barri're ....... Weise ....... Lenau .. ...... Pushkin ...o . ... Trautmann ....... Hahn ....... Braunthal .o... Echeverria .. .. .. Zorrilla .. ...... Zorrilla ....... ...... Zorilla .. Grabbe ....... Hesekiel .... Mallefille .. ... Gano y Cueto .... Luis Osorio ...... Caesareo ...... Panzacchi ...... Hornigk ....... Precht ....... Almquist ... .... Hurte ....... Spiesser . ...... Wiedmann ..... Alvensleben ..... . A. K. Tolstoi .. Lopez de Ayala ... Campoamor ...... Laverdant .. ..... Lacher-Masoch .... Saint Georges ..... M. Sand ....... .. Dargomyzski... Molbre ....... Guerro Junqueirro . A. Friedmann . . . Hart ........ ... Konigsmark Heyse ....... Aicard ....... Proeltz ....... Mansfield .... Masson ....... Don Juan in London (play) ......... Donna Elvira (novel) .... ...... Elixir de Longue Vie (novel) ....... Ames du Purgatoire (novel) ........ Don Juan (play) ........... Don Juan de Marana (play) ...... Don Juan (play) .. .......... Several poems .. ........... . Comedie de la Mort (poem) .. ...... Estudiante de Salamanca (poem) .. ..... Don Juan (play) ........... Don Juan Barbon (play) ......... Vieillesse de Don J. (play) ........ ........ Feu au Couvent (play) .. Don Juan (play) ........... Don Juan (poem) ........... .o .......... Don Juan (play) .. ...... Don J. in Weisbaden (play) .. Don Juan (play) ........... .. . Don Juan (play) ........... . .oAngel . Cafdo (poem) .. ......... Don Juan Tenorio (play) ........ Testigo de Bronce (poem) ........ Desaffo del Diablo (poem) .. ....... ...... Don Juan und Faust (play) .. Faust und Don Juan (play) . ....... . Memoires de Don Juan ......... Hombre de Piedra (poem) .. ....... A Morte de Don Joao (poem) ....... Don Juan (poem) .. .......... Accanto il Fuoco (poem) ......... .......... Don Juan (play) .. Don Juan (poem) ............. . Ramido Marinesco (play) ........ ........... Don Juan (play) Don Juan (play) ......... .. Don Juan von Maranna (play) .. ..... . Don Juans Liebe (novel) ......... Don Juan (novel) . .......... . El Nuevo Don Juan (play) .. ....... Don Juan (poem) ....... Don Juan Converti (play) ........ Don Juan (novel) .. .......... ..... Amours de Don Juan (ballet) .. Les Dons Juans de Village (Vaudeville) ......... Kamenyl Gost (opera) .. Don Juan (play) ........... A Morte de Don Joao (poem) ........ . Don Juans Letztes Abenteur (play) ..... . Don Juan Tenorio (poem) ........ Neuer Don Juan (play) ......... . Don Juans Ende (play) ......... Don Juan (poem) ........... .Don Juans Erl6sung (poem) ........ . .Don Juan (play) ........... .La Cave de Don Juan (poem) ......

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1820 1829 1830 1834 1834 1836 1837 181838 1840 18I818181840 1842 1842 18-

i81842 . 1843 1846 i818. 1846 1846 1847 18.8. 1818. 1850 1853 1854 1856 . I1857 1858 .86i I863 1863 i8.... 1864 1864 . 1865 866 .. . 1872 1875 1876 . 88r I88r i8I883 I889 1886 I891 .1895

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Flaubert ...... Di Giorgi ....... Bernard Shaw ......

Yournal of American Folk-Lore.

Posthumous sketch of novel ......... Fine di Don Giovanni (play) ........ Man and Superman (play) ......... BIBLIOGRAPHY OF CRITICAL WORKS. 1885 I885 ..1903

BLANCO GARCiA:La Literatura Espafiola en el Siglo XIX. BOLTE,J.: Neue Mitteilungen Uiberden Ursprung der Don Juan Sage (Zeitschrift fiir Vergleichende Litteratur, vol. 13, 1889). SIMONE: Don Giovanni nella Poesia e nell' Arte Musicale, Naples, 1894. BROUWER, COLERIDGE: Preface to edition of Byron's Don Juan. COTARELO MORI: Tirso de Molina, Madrid, 1893. Y DE LAREVILLA, MANUEL: Tipo Legendario de Don Juan Tenorio y sus Manifestaciones en las Modernas Literaturas, Madrid, 1883. DE LOSRIos, BLANCA: Don Juan en la Literatura y en la Misica (Espafia Moderna, Dec. 1889). ENGEL,K.: Die Don Juan Sage auf der Biihne, Leipzig, 1877. A.: Don Giovanni; Note Critiche (Giornale Storico della Letteratura FARINELLI, Italiana, vol. 27, 1896). Cuatro Palabras sobre Don Juan (Estudios de Erudici6n, Madrid, 1899). FITZMAURICE-KELLY: History of Spanish Literature. V.: HEINRICH, Legende de Don Juan et ses Diverses Interpretations, Lyons, I858. HELBIG,F.: Die Don Juan Sage, ihre Entstehung und Fortentwicklung (Westermanns Illustrirte deutsche Monatshefte, March, 1887). A.: KAHLERT, Die Sage von Don Juan (Das Kloster von Scheible, 1846). A. LATOUR, de: Etudes sur Espagne, Paris, 1855LARROUMET: Donjuanisme (Temps, February, 1892). LAUN, A.: MolilZreund Tellez als Bearbeiter des Don Juan (Archiv fUirLitteraturgeschichte, vol. iii, Berlin, 1874). LAVERDANT, D~SIRE: Renaissances de Don Juan, Paris, 1864. Don Juan et la Critique Espagnole (Translation of articles by Revilla, MAGNABAL: Piscatoste, and Pi y Margall), Paris, 1893. MuRioz PENA: Teatro de Tirso de Molina. F.: PI Y MARGALL, Observaciones sobre el Carncter de Don Juan Tenorio (Opdsculos, Madrid, 1884). FELIPE:Don Juan Tenorio (Estudios Literarios, Madrid, 1883). PICATOSTE, REVIEW: Criticism of Byron's Don Juan, vol. cxvii, 1837QUARTERLY TICKNOR, GEORGE: History of Spanish Literature. WARP,J. A.: Nederlandsche Don Juan Dramas (Taal en Letteren, vol. liii, 1898). Etudes sur l'Histoire des Institutions, Paris, 1835VIARDOT: SYRACUSE UNIVERSITY, SYRACUSE, N. Y.