“The Trickster of Seville” by Tirso de Molina – the first Don Juan

The myth of Don Juan is possibly unique in that we may pinpoint precisely its origins: it’s a Spanish play, first published in 1630 but written much earlier – possibly as early as 1616, Wikipedia tells me – written by Catholic monk Tirso de Molina. The full Spanish title of the play is El Burlador de Sevilla y convidado de piedra – which, roughly translated, reads The Joker of Seville and the Guest of Stone. The English title of this play varies by translation, but in the one I read – the verse translation by Roy Porter – the title is given as The Trickster of Seville. So let’s stick with that.

The story caught on almost immediately. In the decades following the first performance, there were – in those copyright-free days – any number of variants. Further variants continued to appear at a dizzying pace: Armand E. Singer,  Professor of Romance languages at University of West Virginia, has listed no less than 1,720 of them. And the myth has attracted the attention of some of the greatest creative minds of the Western world – Molière, Mozart, Pushkin. Indeed, Molière’s version appeared a mere 35 years after the publication of Tirso de Molina’s. Clearly, there is something in this story that resonated powerfully, and, given the undiminished popularity of various works based on this myth, continues to resonate still.

At the most basic level, it is, of course, is a male wish-fulfilment fantasy – a man addicted to sex whom no woman can resist is, I’d guess, the stuff of dreams for most heterosexual men, and the punishment at the end is no more than an obligatory piece of stuffy moralising we need to put up with. This, of course, is to interpret the myth at its most basic level, but perhaps we shouldn’t dismiss this basic interpretation: there is, it seems to me, a lot going for it: wish-fulfilment is, after all, a powerful draw. However, it seems fair to say that it is not this crude piece of wish-fulfilment that has drawn to it some of the greatest of creative imaginations: the myth clearly resonates on other levels also.

The last time I broached this subject on this blog, one correspondent very kindly directed me to this fascinating account of the myth by Paul Berman. In his essay, Berman argues that Tirso de Molina, who, despite his Catholic credentials, was a convert from Judaism, critiques in his play the Christian viewpoint that replaces the Principle of Law with the Principle of Grace, of Justice and Retributon with Repentance and Forgiveness. “The trouble,” Berman argues, “ … is that society that depends on conscience has no defense against a sociopath who has none”, and that “Christian reliance on the Attribute of Mercy at the expense of the Attribute of Justice … frees Juan to formulate a sociopath’s theory of salvation”. I shall not repeat Berman’s thesis here, since, firstly, I don’t think I have taken it all in fully; and, secondly, because it available online in its original form, and any paraphrase on my part can only distort. I do, however, recommend it to the interested reader.

However, there seems to me other angles as well that are worth exploring. The most striking, for me, is the means of Don Juan’s punishment. Of course, in a traditional morality play, the wrongdoer must be punished, and Don Juan is; however, perhaps rather surprisingly given the long list of earthly enemies he has accumulated, the punishment does not come from any earthly source: it comes from the other world. This creates for some dramatic untidiness – an untidiness that not even the stagecraft of Molière, of Mozart and da Ponte, or of Pushkin, could quite get around: throughout the action of the play, conflicts are created that are, by the end, left merely hanging in the air, since the resolution comes not from any of Don Juan’s worldly antagonists, but from a very unworldly one. As a consequence, the various characters whom Don Juan encounters are left, once Don Juan has finished with them, with no real dramatic purpose to fulfil. As Don Juan moves on from one set of characters to another, the sets of characters he leaves behind have little to do except to disappear from the action, or merely to crowd the stage for no discernible reason.

In Mozart’s opera, this seems to me the very point: the earthly antagonists are no match for Don Juan (or Don Giovanni), who emerges therefore as a character beyond the reach of earthly justice: the disorder he brings to the world can only be set right by a force from another world. The ineffectuality of mere mortals in the face of the phenomenon that is Don Juan is, it seems to me, is at the very centre of Mozart’s opera. But I am not sure this is the case in de Molina’s play: as in Mozart’s opera, there are several characters who, once their interaction with Don Juan is finished, mill about the action without contributing anything, but their inability to act effectively seems to me here more a dramatic encumbrance than anything else.

However, this other-worldly punisher is a remarkable figure. The idea of the other-worldly nemesis being a statue, a creature of stone, is, as far as I know, entirely Tirso de Molina’s creation, and while, it appears from various modern productions of Don Giovanni, many in our own times find rather risible and are embarrassed by the idea of a moving statue exacting retribution, it is precisely this feature that excited the imaginations of Molière, Mozart, and Pushkin. For Don Juan, who glories in being a creature of flesh and blood, who rejoices in pleasures of the flesh and is fired by desires of the blood, must be punished by one who has neither flesh nor blood about him – who is, indeed, quite literally, made of stone.

But of course, to speak of Don Juan’s punishment by the statue as the punishment of the human by the non-human is too crude a representation. For Don Juan is more than just human, of course. Or, to be more accurate, he is less than fully human. He is a character entirely without conscience, and, as such, no human consideration can touch him. His utter lack of human conscience places him beyond the human pale. In Freudian terms, he is the id set free, with no superego to impose any form of control. It could be argued, I suppose that this man, seeking merely pleasure, without any form of control restricting his actions, is a form of wish-fulfilment, and a very potent one at that: he is certainly a very attractive figure, as was recognised from the very start. But while we may find such a figure attractive, we also recognise his dangers: no ordered society could accommodate such a figure, and his very presence of fills us with a sense of dread, even of terror. Don Juan fills us with both joy and with terror: he both attracts and repels in equal measure. It is easy to see why so many have been drawn to de Molina’s myth.

The Trickster of Seville is, despite some dramatic clumsiness, a remarkable play, and not merely because it originates so powerful a myth: de Molina seems fully aware of the resonances of his creation – although, of course, there is always a danger that we may be reading back into this work various elements that later dramatists have introduced. De Molina presents both the attractive nature and the charisma of Don Juan, and also the misery he leaves in his wake: the lamentations of Tisbea (called Thisbe in Roy Campbell’s translation), is particularly striking, especially given that, unlike Don Juan’s other conquests in this play, she is of a lower social order:

Fire, oh fire, and water, water!
Have pity, love, don’t scorch my spirits!
Oh, wicked cabin, scene of slaughter,
Where honour, vanquished in a fight,
Bled crimson! Vilest robber’s den
And shelter of the wrongs I mourn!
O traitor guest, most curst of men,
To leave a girl, betrayed, forlorn!

Even in Shakespeare, I cannot think of an instance of a woman from the lower social orders accorded such tragic stature.

But at the centre of the play is, of course, Don Juan, the man who is beyond the control of society because he is beyond the control of his own conscience, a fulfilment of our deepest desires and also of our most fearful nightmares, and who both attracts and appals in equal measure. He is a figure who has appeared in all sorts of guises since in Western literature, and, I guess, he will continue to appear: for while we may all secretly desire to be a person who is utterly unconstrained in the obtaining of desires, the very thought of such a person existing can but fill us with terror. We need to be our own Stone Guest to keep out flesh and blood in ord


3 responses to this post.

  1. I think possibly Molina’s play is more subtle than Berman’s claims, because Don Juan only pays lip service to being devout; were he truly faithful, he would repent in his lifetime, confess his sins, get himself to Mass and accept the Eucharist, rather than assume he had all the time in the world to sin before the clock ran out. This “make hay while the sun shines” theology is a deliberate misreading (on the part of Don Juan and, I assume, on the part of Molina) of actual Catholic theology. It is pretty interesting that Molina sends a golem-figure to stop Don Juan.

    Mostly though, how about that “Fire, oh fire” speech? That’s just amazing stuff. I need to read this.


    • Hello Scott, I think I agree with you. I looked through the play again, and at no point is there a suggestion that Don Juan really is devout. Although Berman’s thesis remains interesting, I cannot see the play quite in his terms. It seems to me a depiction of desire unrestrained by guilt or by conscience.

      Tisbea’s (Thisbe’s) speeches I thought were quite extraordinary. It did surprise me that in a play populated by so many aristocratic figures, it is a working class girl who is accorded such tragic status.


      • Don Juan (in this version anyway) reminds me a lot of Guido in Browning’s The Ring and The Book. I think this sort of religious hypocrisy has been with us a long time, the Church as a safety net of last resort in case we are caught out in our happy sins. It’s still with us, in fact.

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