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The Seducer of Seville and the Stone Guest | |
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Written by | Tirso de Molina |
Date premiered | c. 1616-1630 |
Original language | Spanish |
Subject | Don Juan |
Genre | Spanish Golden Age |
Setting | 14th century |
The Trickster of Seville and the Stone Guest (Spanish: El burlador de Sevilla y convidado de piedra) is a play written by Tirso de Molina. Its title varies according to the English translation, and it has also been published under the titles The Seducer of Seville and the Stone Guest and The Playboy of Seville and the Stone Guest. The play was first published in Spain around 1630, though it may have been performed as early as 1616.[1] Set in the 14th century, the play is the earliest fully developed dramatisation of the Don Juan legend.[2]
- 3Summary
Main characters[edit]
- Don Juan – protagonist (a young noble); relentlessly seduces all women possible by promising them marriage
- Duchess Isabela – Duchess that Don Juan tricks; she was going to marry Duke Octavio
- Don Gonzalo – nobleman and military commander, Doña Ana's father
- Doña Ana – noble woman and Don Gonzalo's daughter; is engaged to Don Juan for a time (but the engagement is broken off)
Secondary characters[edit]
- Octavio – Duke, Isabela's lover
- Don Pedro – Don Juan's sympathetic uncle
- Tisbea – peasant girl seduced by Don Juan
- Catalinón – Don Juan's servant
- Don Diego – Don Juan's father
- Marqués de la Mota – another womanizer, who is in love with Doña Ana
- Aminta – another peasant girl seduced by Don Juan
- Batricio – peasant man who is newly married to Aminta
- Fabio – Isabela's servant
Summary[edit]
Act One[edit]
The play begins in Seville with Don Juan and the Duchess Isabela who, alone in her palace room, have just enjoyed a night of love together. However, when Isabela wants to light a lamp, she realizes that he is not her lover, the Duke Octavio, and screams for help. Don Juan's uncle, Don Pedro, comes to arrest the offender. But Don Juan cleverly reveals his identity as his nephew and Don Pedro assists him in making his escape just in time. Pedro then claims to the King that the unknown man was Duke Octavio. The King orders Octavio and Isabela to be married at once, with both of them to be held in prison until the wedding.
At home, after Octavio speaks of his love for Isabela, Don Pedro comes to arrest him, claiming that Octavio had violated Isabela the previous night. Octavio, of course, had done no such thing, and starts to believe that Isabela has been unfaithful to him. He flees from Don Pedro, planning to leave the country.
By the seashore of Tarragona, a peasant girl named Tisbea happens to find Don Juan and his servant, Catalinón, apparently washed up from a shipwreck. She tries to revive Don Juan, who wakes and immediately declares his love for her. Tisbea takes Juan back to her house, intending to nurse him back to health and mend his clothes.
Back in Seville, the King speaks to Don Gonzalo, a nobleman and military commander, about arranging a marriage between Don Juan and Gonzalo's daughter, Doña Ana. Gonzalo likes the idea and goes to discuss it with his daughter.
Back at the seashore, Don Juan and Catalinón flee, apparently after Don Juan has already seduced Tisbea. Catalinón scolds him, but Don Juan reminds him that this is not his first seduction, and jokes that he has a medical condition in which he must seduce. Catalinón says that he is a plague for women. Tisbea catches up with the two men, and Don Juan assures her that he intends to marry her. Tisbea is so overcome with grief and anger over what happened that she exclaims 'fuego, fuego' meaning that she is burning up with hate and a desire for revenge. She is also overcome with shame at the undoing of her honor and flings herself into the ocean; however, she doesn't die and we see her again in the third act.
Act Two[edit]
In Seville, Don Diego, Don Juan's father, tells the king that the man who seduced the Duchess Isabela was not Octavio, but Don Juan, and shows a letter from Don Pedro as proof. The King declares Don Juan banished from Seville and retracts his plans to have him marry Doña Ana. Just then, Octavio arrives, begging the king's forgiveness for having fled earlier. The King grants it, and allows him to stay as a guest in the palace.
Next, Don Juan and Catalinón arrive and talk to the Marquis de la Mota, who is a womanizer nearly as bad as Don Juan. The Marquis confesses, however, that he is actually in love with his cousin Doña Ana, but laments that she is arranged to marry someone else. Mota says he is going to visit Ana, and Don Juan sends Catalinón to follow him in secret. Don Juan's plans are also helped along when a servant of Ana's, having just seen Don Juan talking to Mota, asks that he give to Mota a letter from Ana. In the letter, Ana asks Mota to visit her during the night, at 11 o'clock sharp, since it will be their one and only chance to ever be together. Mota comes back again, apparently not having found Ana at home, and Don Juan says he received instructions from Ana that Mota should come to the house at midnight. Mota lends Don Juan his cape at the end of the scene.
That night at Don Gonzalo's home, Ana is heard screaming that someone has dishonored her, and her father, Don Gonzalo, rushes to her aid with his sword drawn. Don Juan draws his own sword and kills Don Gonzalo. With his final breath, Don Gonzalo swears to haunt Don Juan. Don Juan leaves the house just in time to find Mota and give him his cape back and flees. Mota is immediately seen wearing the same cloak as the man who murdered Don Gonzalo and is arrested.
The next day, near Dos Hermanas, Don Juan happens upon a peasant wedding and takes a particular interest in the bride, Aminta. The groom, Batricio, is perturbed by the presence of a nobleman at his wedding but is powerless to do anything.
Act Three[edit]
Don Juan pretends to have known Aminta long ago and deflowered her already, and by law she must now marry him. He goes to enjoy Aminta for the first time and convinces her that he means to marry her at once. The two of them go off together to consummate the union, with Juan having convinced Aminta that it is the surest way to nullify her last marriage.
Elsewhere Isabela and her servant, Fabio, are travelling, looking for Don Juan, whom she has now been instructed to marry. She complains of this arrangement and declares that she still loves Octavio. While travelling, they happen upon Tisbea, whose suicide attempt was unsuccessful. When Isabela asks Tisbea why she is so sad, Tisbea tells the story of how Don Juan seduced her. Isabela then asks Tisbea to accompany her.
Don Juan and Catalinón are back in Seville, passing by a churchyard. They see the tomb of Don Gonzalo, and Don Juan jokingly invites the statue on the tomb to have dinner with him and laughs about how the hauntings and promised vengeance have not yet come.
That same night, as Don Juan sits down for dinner at his home, his servants become frightened and run away. Don Juan sends Catalinón to investigate, and he returns, horrified, followed by the ghost of Gonzalo in the form of the statue on his tomb. Don Juan is initially frightened but quickly regains control of himself and calmly sits to dine while his servants cower around him. Gonzalo invites Juan to dine again in the churchyard with him, and he promises to come.
At the Alcázar, the King and Don Diego, Don Juan's father, discuss the impending marriage to Isabela, as well as the newly arranged marriage between Mota and Doña Ana. Octavio then arrives and asks the King for permission to duel with Don Juan, and tells the truth of what has happened to Isabela to Diego, who was until now unaware of this particular misdeed of his son. The King and Diego leave, and Aminta appears, looking for Don Juan since she thinks he is now her husband. Octavio takes her to the king so that she can tell him her story.
In the churchyard, Don Juan tells Catalinón about how lovely Isabela looks and how they are to be married in a few hours. The ghost of Gonzalo appears again, and he sets out a table on the cover of a tomb. He serves a meal of vipers and scorpions, which Juan bravely eats. At the end of the meal, Gonzalo grabs Don Juan by the wrist, striking him dead. In a clap of thunder, the ghost, the tomb, and Don Juan disappear, leaving only Catalinón, who runs away in terror.
At the Alcazar, every single character who has been wronged by Don Juan is complaining to the King, when Catalinón enters and announces the strange story of Don Juan's death. All the women who have claim to Don Juan as their husband are declared widows, and Catalinón admits that Ana escaped from Juan before he could dishonor her. Mota plans to marry Ana, Octavio to marry Isabela, Tisbea is free to marry again if she chooses, and Batricio and Aminta go back home.
Adaptations[edit]
The play was adapted into Italian in Florence (1657)[3] and elsewhere.
References[edit]
- ^Brockett and Hildy (2003, 144).
- ^Brockett and Hildy (2003, 144) and Bunn (1998, 1112).
- ^Goudriaan Florentine Patricians and Their Networks
Sources[edit]
- Banham, Martin, ed. 1998. The Cambridge Guide to Theatre. Cambridge: Cambridge UP. ISBN0-521-43437-8.
- Bentley, Eric, ed. 1984. The Trickster of Seville. By Tirso de Molina. Trans. Roy Campbell. In Life is a Dream and Other Spanish Classics. Eric Bentley's Dramatic Repertoire v.2. New York: Applause. 137-218. ISBN978-1-55783-006-7.
- Brockett, Oscar G. and Franklin J. Hildy. 2003. History of the Theatre. Ninth edition, International edition. Boston: Allyn and Bacon. ISBN0-205-41050-2.
- Bunn, Elaine. 1998. 'Tirso de Molina.' In Banham (1998, 1112-1113).
- Edwards, Gwynne, trans. 1986. The Trickster of Seville and the Stone Guest. By Tirso de Molina. Hispanic Classics ser. Warminster: Aris & Phillips. ISBN0-85668-301-9.
External links[edit]
- Media related to El burlador de Sevilla y convidado de piedra at Wikimedia Commons
- Spanish Wikisource has original text related to this article: El burlador de Sevilla
- Full text of the play(in Spanish)
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Tirso de Molina
Tirso de Molina (24 March 1579[dubious] – 12 March 1648[1]) was a Spanish Baroquedramatist, poet and Roman Catholic monk. He is primarily known for writing The Trickster of Seville and the Stone Guest, the play from which the popular character of Don Juan originates.[2] His work is also of particular significance due to the abundance of female protagonists, as well as the exploration of sexual issues.[3]
Life and career[edit]
He was born Gabriel Téllez in Madrid. He studied at Alcalá de Henares, joined the mendicant Order of the Blessed Virgin Mary of Mercy on 4 November 1600, and entered the Monastery of San Antolín at Guadalajara, Spain on 21 January 1601. He was ordained a priest by 1610.[4]
He had been writing plays for ten years when he was sent by his superiors on a mission to the West Indies in 1615; residing in Santo Domingo from 1616 to 1618 and returning to Europe in 1618, he resided at the Mercedarian monastery in Madrid, took part in the proceedings of the Academia poetica de Madrid, founded by Sebastián Francisco de Medrano, competed in the literary tournaments then in vogue, and wrote copiously for the stage.[1]
His first publication, the incomplete Cigarrales de Toledo (licensed in 1621, but not published till 1624), is a miscellany, containing short tales, novellas, verses and three plays. One of the novellas, Los tres maridos burlados, probably derived from Francesco Cieco da Ferrara's Mambriano, and the play entitled El vergonzoso en palacio reveal his wit and ingenuity. The preface to the Cigarrales de Toledo states that Tirso de Molina had already written three hundred plays, and at this period of his career he was second only to Lope de Vega in popularity. (Tirso de Molina was one of Lope's most ardent followers.)[citation needed]
He showed hostility to culteranismo in the Cigarrales de Toledo, and made numerous enemies by his attacks on the new school in such pieces as Amar por arte mayor and La celosa de si misma. The realistic character of some of his productions gave his rivals an excuse to denounce him as a corrupter of public morals to the council of Castile in 1625, and, though no legal action was taken against him, he appears to have been reprimanded privately. In 1626 it was thought advisable to transfer him to Salamanca, and Tirso de Molina left Madrid determined to write no more for the stage. Though one of his plays, La huerta de San Juan, is dated 1626, there is no proof that it was begun after his departure from Madrid, and he seems to have written nothing for eight years.[1]
![El burlador de sevilla english pdf 2016 El burlador de sevilla english pdf 2016](/uploads/1/2/5/8/125848309/968317792.jpg)
He had not lost his interest in the theatre, and published twelve representative pieces as the first part of his dramatic works (1626). This was a formal protest against the weakness of those who had been persuaded to drive him out. On the other hand, he worked zealously on behalf of his order, and rose to an important position; he became superior of the monastery at Trujillo in 1626, was elected later to the posts of reader in theology and definidor general[further explanation needed], and in May 1632 was appointed chronicler of the Order of Mercy. His Deleitar aprovechando (1635) is a devout counterpart of the Cigarrales de Toledo, much inferior to its predecessor in interest; a sequel was promised to this collection of pious tales, pious lyrics, and autos, but, as in the case of the Cigarrales de Toledo, the continuation never appeared.[1]
Portrait of Tirso de Molina
Twelve plays constitute the third part of his dramatic works which was published (before the second) in 1634, supposedly edited by the writer's nephew, 'Francisco Lucas de Ávila', possibly a cover identity for himself. The second part (1635), the printing of which was paid for by the confraternity of St Jerome, contains four plays by Tirso de Molina, and eight written by him in collaboration with other dramatists; one of these collaborators was Juan Ruiz de Alarcón, but Tirso de Molina was the predominant spirit in these literary partnerships. The fourth and fifth parts of his dramatic works (1635 and 1636) each contain twelve plays; the haste with which these five volumes were issued indicates the author's desire to save some part of his work from destruction, and the appearance of his 'nephew's name on the title-pages of the last four volumes indicates his desire to avoid conflict with the authorities. A sixth volume of dramatic pieces, consisting of light comedies, was announced; but the project was abandoned. That dramatic composition still entertained the scanty leisure of Tirso's old age is shown by the fact that the fragmentary autograph copy of Las quinas de Portugal is dated 8 March 1638, but his active career as a dramatist ended two years earlier. He was absorbed by other duties. As official chronicler of his order, he compiled the elaborate Historia de la Merced (his religious order), which occupied him till 24 December 1639 and was not published until 1973. As a tribute to the count de Sastago, who had accepted the dedication of the fourth part of the plays, and who had probably helped to defray the publishing expenses, Tirso de Molina is said to have compiled the Genealogía de la casa de Sastago (1640), but the ascription of this genealogical work is disputed. On 29 September 1645 Tirso de Molina became superior of the monastery at Soria, and died there.[1]
Monument to Tirso de Molina in Madrid (R. Vela, 1943)
It is only within the last century that it has become possible to give an outline of his life; it will always be impossible for posterity to do justice to his genius, for but a fraction of his plays have been preserved. The earliest of his extant pieces is dated 1605 and bears no sign of immaturity; in 1624 he had written three hundred plays, and in 1634 he stated that he had composed four hundred within the previous twenty years; of this immense production not more than eighty plays, are in existence. Tirso de Molina is universally known as the author of El Burlador de Sevilla y convidado de piedra (The Trickster of Seville and the Stone Guest), the piece in which Don Juan is first presented on the stage; but El Burlador de Sevilla represents only one aspect of his genius. No less remarkable than his representation of perverse depravity in El Burlador de Sevilla is his dramatic treatment of a philosophical enigma in El Condenado por desconfiado, but El Burlador de Sevilla and El Condenado por desconfiado are thought by scholars as Fernando Cantalapiedra or Alfredo Rodriguez to have been written by Andrés de Claramonte. Though manifestly attracted by exceptional cases, by every kind of moral aberration, by the infamous and the terrible, his range is virtually unlimited. He reveals himself as a master of historical interpretation in La Prudencia de la mujer; his sympathetic, malicious wit finds dramatic expression in El vergonzoso en palacio and Don Gil de las calzas verdes, and the fine divination of feminine character in Averígüelo Vargas and La villana de Vallecas (The Peasant Woman of Vallecas) is incomparable.[1]
Tirso de Molina has neither Lope de Vega's inventive resource, nor his infinite seduction; he has neither Pedro Calderón de la Barca's idealistic visions, nor his golden music; but he exceeds Lope in massive intellectual power and in artistic self-restraint, and he exceeds Calderón in humour, in creative faculty, and in dramatic intuition. That his reputation extended beyond the Pyrenees in his own lifetime may be gathered from the fact that James Shirley's Opportunity is derived from El Castigo del penséque; but he was neglected in Spain itself during the long period of Calderón's supremacy, and his name was almost forgotten till the end of the 18th century, when some of his pieces were timidly recast by Dionisio Solis and later by Juan Carretero.[1]
The renaissance of his fame, however, dates from 1839–1842, when an incomplete but serviceable edition of his plays was published by Juan Eugenio Hartzenbusch. He is now accepted as among the greatest dramatists of Spain. [1]
Bibliography[edit]
- Comedias escogidas[5]
- Comedias[6]
- El Teatro del Maestro Tirso de Molina[7]
- Tirso de Molina; investigaciones bio-bibliográficos[8]
- Estudios de critica literaria[9]
- Discurso ante la Real Academía española[10]
- El Condenado por desconfiado[11] and 'Mas sobre las fuentes del condenado por desconfiado'[12]
- Etudes sur l'Espagne[13]
References[edit]
- ^ abcdefghChisholm 1911.
- ^Edwards, Gwynne, trans. 1986. The Trickster of Seville and the Stone Guest. By Tirso de Molina. Hispanic Classics ser. Warminster: Aris & Phillips. ISBN0-85668-301-9.
- ^Eisenberg, Daniel (1999). 'Introduction'. In Foster, David William (ed.). Spanish Writers on Gay and Lesbian Themes. A Bio-Critical Sourcebook(PDF). Westport, CT: Greenwood. pp. 1–21.
- ^The exact date of his ordination to the priesthood is not known, but the earliest notice of him in that connexion is in 1610 when he is mentioned by Andrés de Claramonte y Corroy in his 'Letanía Moral', as Padre Fray Gabriel Téllez of the order of Nuestra Señora de la Merced. From Herbermann, Charles, ed. (1913). 'Gabriel Téllez' . Catholic Encyclopedia. New York: Robert Appleton Company.
- ^edited by JE Hartzenbusch in the Biblioteca de autores españoles, vol. v.
- ^edited by Emilio Cotarelo y Mori in the Nueva biblioteca de autores españoles (supplementary to Hartzenbusch's edition)
- ^P Muñoz Peña, Madrid, 1889
- ^E Cotarelo y Mori, Madrid, 1893
- ^M Menéndez y Pelayo, segunda serie, pp. 131–198 (weslaco, 2005)
- ^R Menéndez Pidal
- ^Madrid, 1902
- ^in the Bulletin hispanique, vi. 38–43
- ^A Morel-Fatio, troisieme serie, pp. 25–72 (Paris, 1904)
- Attribution
- This article incorporates text from a publication now in the public domain: Chisholm, Hugh, ed. (1911). 'Tirso de Molina'. Encyclopædia Britannica. 26 (11th ed.). Cambridge University Press.
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