The king unravels the tricks of Don Juan, and true lovers are reunited at last. Information on Tirso’s early years is likewise sketchy. [1] His play, El burlador de Sevilla y convidado de piedra (The Trickster of Seville and the Stone Guest), was set in the fourteenth century and published in Spain around 1630. The Trickster of Seville, (1618?-1630?) THEMES wright most responsible for the form and shape of Spanish comedia during the seventeenth century. This and other eighteenth-century versions tended to focus more on Don Juan’s pursuit of sensual pleasures than on the religious ramifications of that pursuit. Five volumes, or partes, of Tirso’s works were printed between 1627 and 1639. Mark A. Lindquist and Martin Zanger, Madison: University of Wisconsin … AT: The Rogue/The Playboy/The Joker/The Deceiver of Seville A: Tirso de Molina Pf: 1625, Naples Pb: 1630 Tr: 1923 G: Drama in 3 acts; Spanish verse S: Naples, Tarragona, Seville, and Dos Hermanas, 14th c. C: 14m, 6f, extrasAt the Court of Naples Don Juan seduces the Duchess Isabella by pretending to be her fiancé. / My very favorite pastime, my delight’s / To trick a woman, steal away her honour, / Deprive her of her cherished reputation” (Molina, Trickster of Seville, 2.269–73). It has been suggested by at least one source, however, that Tirso may have been Don Pedro’s illegitimate half-brother and that The Trickster of Seville might have been intended as a judgment on an unacknowledged kinsman’s scandalous behavior. Like many prolific playwrights of the Spanish Golden Age, Tirso initially gave preservation and publication of his plays little thought. While the first half is a tragedy about two men who bet each other to see who can cause the most damage in a year, and the fallout from the bet, the second half is about Don Juan choosing whether to believe that he can be saved through a bargain Dona Ines made with God, or, … Pope Paul III (reigned 1534–1549), considered to be the first pope of the Counter-Reformation, convened the Council of Trent in 1545 to settle the most pressing issues resulting from the ongoing religious controversy in Europe. Lope de Vega and Spanish Drama. When the feast ends, Don Gonzalo’s statue enjoins Don Juan to take his hand; obeying, Don Juan finds the statue’s grasp burning hot and struggles in vain to free himself. Don Juan is not immune to women’s beauty; indeed, their physical charms provide the impetus for his sexual pursuit of them. "The Trickster of Seville and the Stone Guest Between 1616 and 1618, Tirso taught theology and tended to Mercederian affairs in Santo Domingo in the West Indies. . Ruiz, Teofilo. While Tirso’s Don Juan is not a religious skeptic or a heretic, he nonetheless reveals an arrogant misunderstanding of the true nature of sin and repentance. Your IP: 54.38.78.78 Don Juan (Spanish pronounced ), also known as Don Giovanni (), is a legendary, fictional libertine.Famous versions of the story include a 17th-century play, El burlador de Sevilla y convidado de piedra (The Trickster of Seville and the Stone Guest) by Tirso de Molina, and an 1787 opera, Don Giovanni, with music by Mozart and a libretto by Lorenzo da Ponte. Tirso’s plays frequently evoke comparisons with those of Lope de Vega (1562–1635), his dramatic precursor and the play The issue of favoritism in the play IV. The two young men trade sallies about the prostitutes of Seville; then Mota imprudently reveals to Don Juan that he is As Don Juan prides himself on his reputation as the trickster of Seville, so Tisbea initially rejoices in being immune to the attentions of her many love-struck suitors: “I alone am free from love’s harsh tyranny, / And only I can boast I’m really happy! Banishment or revenge, often the killing of the seducer and the seduced, followed swiftly upon dishonour. Gwynne Edwards. Similarly, Don Juan later sings the praises of Aminta, the country bride he plans to seduce away from her new husband: “What lovely eyes she has! Religious Imagery in the Theatre of Tirso de Molina. The Trickster of Seville and the Stone Guest. An alternate version of the play, Tan largo me lo Fiás (What Long Credit You Give Me) was first published under the name of the Spanish dramatist Calderón de la Barca. The extent to which Tirso was familiar with Don Pedro’s exploits remains unclear. 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