Don Juan

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Don Juan, 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 an archetypcal character in the West, 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’s opera Don Giovanni (1787), and it
would continue to live on, by the 20th century, in movies and other media.

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
zoom_in
Don Giovanni; Wolfgang stone ghost duly arrived for dinner as a harbinger of
Amadeus Mozart Don Juan’s death. In the original Spanish tragedy,
Illustration (c. 1914) of a scene from
Wolfgang Amadeus Mozart's opera Don Juan’s attractive qualities—his vitality, his
Don Giovanni (1787), in which Don
arrogant courage, and his sense of humour—heighten
Giovanni attempts to seduce Zerlina.
© Photos.com/Jupiterimages 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, and by the 19th
century many 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’s
uncharacteristic short story “Les Âmes du Purgatoire” (1834; “Souls in Purgatory”) and the
drama Don Juan de Marana (1836) by Alexandre Dumas père. Early English versions—
such as Thomas Shadwell’s The Libertine (1675), for example—are considered uninspired,
but the character reappears with a new force in Lord Byron’s long satiric poem Don Juan
(1819–24) and in George Bernard Shaw’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, still traditionally
performed in Spain at the time of All Saints’ Day (November 1) and All Souls’ Day
(November 2), 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.

This article was most recently revised and updated by J.E. Luebering, Executive Editorial Director.

Citation Information
Article Title:
Don Juan
Website Name:
Encyclopaedia Britannica
Publisher:
Encyclopaedia Britannica, Inc.
Date Published:
25 May 2021
URL:
https://www.britannica.com/topic/Don-Juan-fictional-character
Access Date:
July 25, 2021