Don Juan

Don Juan
/don wahn"/ or, Sp., /dawn hwahn"/ for 1, 2; esp. for 4 /don jooh"euhn/
1. a legendary Spanish nobleman famous for his many seductions and dissolute life.
2. a libertine or rake.
3. a ladies' man; womanizer.
4. (italics) an unfinished epic satire (1819-24) by Byron.

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Fictional character famous as a heartless womanizer but also noted for his charm and courage.

In Spanish legend, Don Juan was a licentious rogue who seduced a young girl of noble family and killed her father. Coming across a stone effigy of the father in a cemetery, he invited it home to dine with him, and the ghost of the father arrived for dinner as the harbinger of Don Juan's death. The legend of Don Juan was first written down by Tirso de Molina, who gave it an original twist in his tragedy The Seducer of Seville (1630). The story was subsequently taken up by many other artists including W.A. Mozart, in the opera Don Giovanni (1787); Molière and George Bernard Shaw, in plays; and Lord Byron in his long satiric poem Don Juan (1819–24).

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▪ fictional character
      fictitious character who is a symbol of libertinism. Originating in popular legend, he was first given literary personality in the tragic drama El burlador de Sevilla (1630; “The Seducer of Seville,” translated in The Trickster of Seville and the Stone Guest), attributed to the Spanish dramatist Tirso de Molina. Through Tirso's tragedy, Don Juan became a universal character, as familiar as Don Quixote, Hamlet, and Faust. Subsequently, he became the hero-villain of plays, novels, and poems; his legend was assured enduring popularity through Mozart (Mozart, Wolfgang Amadeus)'s opera Don Giovanni (1787).

      The legend of Don Juan tells how, at the height of his licentious career, he seduced a girl of noble family and killed her father, who had tried to avenge her. Later, seeing a commemorative effigy on the father's tomb, he flippantly invited it to dine with him, and the stone ghost duly arrived for dinner as a harbinger of Don Juan's death. In the original Spanish tragedy, Don Juan's attractive qualities—his vitality, his arrogant courage, and his sense of humour—heighten the dramatic value of the catastrophe. The power of the drama derives from its rapid pace, the impression it gives of cumulative tension as Don Juan's enemies gradually hound him to destruction, and the awareness that the Don is goaded to defy even the ghostly forces of the unknown. In the end he refuses to repent and is eternally damned.

      In the 17th century the Don Juan story became known to strolling Italian players, some of whom traveled to France with this theme in their repertoire of pantomime (mime and pantomime), and by the 19th century many foreign versions of the Don Juan legend existed. Along with Mozart's opera, other famous non-Spanish versions are Molière's play Dom Juan, ou le festin de pierre (first performed 1665; “Don Juan, or, The Stone Feast”), based on earlier French arrangements; and two works dealing with a similar but different Don Juan, Prosper Mérimée (Mérimée, Prosper)'s uncharacteristic short story "Les Âmes du Purgatoire" (1834; “Souls in Purgatory”) and the drama Don Juan de Marana (1836) by père (Dumas, Alexandre, père). Early English versions—such as Thomas Shadwell (Shadwell, Thomas)'s The Libertine (1675), for example—are considered uninspired, but the character reappears with a new force in Lord Byron (Byron, George Gordon Byron, 6th Baron)'s long satiric poem Don Juan (1819–24) and in George Bernard Shaw (Shaw, George Bernard)'s drama Man and Superman (1903). Later Spanish versions retain Don Juan's likable qualities and avoid the calculated cynicism of certain foreign versions.

      The highly popular Don Juan Tenorio (1844) of José Zorrilla y Moral (Zorrilla y Moral, José), still traditionally performed in Spain on the eve of All Soul's Day (Halloween), borrowed lavishly from French sources. Zorrilla's play is said to sentimentalize the legend by furnishing a pious heroine and a serious love interest and by procuring Don Juan's repentance and salvation.

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Universalium. 2010.

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