DON JU'AN, Sp. pron. (Vl mviin (Sp.. Sir John). A legendary figure, like Tann hliuscr, and the Flying Dutchman, and one of the most widely handled in :ill modern poetry. The ideal of the Don Juan legend is presented in the life of a profligate, who give, himself up so entirely to the gratification of sense that lie acknowledges no higher consideration, and pro ceeds to nill•ler the man who stands between 111111 and his wiih, fancying that in so doing lie has annihilated his very existence. Partly in wanton daring, partly to allay all uneasy mis giving, lie then challenges that spirit in which he disbelieves, to demonstrate to him its exist ence in the only way he holds valid—namely, through the sen-es. When tills actually hap pens, when the spirit proves its existence and power, and him to acknowledge its supremacy and the worthlessness of a merely sensuous existence. he is crushed and into hell. The genuine legend of non was first put into form by Gabriel Tellez (Tirso de Nlo• final. in /.7 S, rill, y dr Piedra. In it the hero is described as a Member of a celebrated Sevillian Tenorio, while the action of the piece turns mainly upon his betrayal of his friend. the Marquis de la Mota, and his attempt to seduce the latter's betrothed. Being oppo-ed by her father, he kills him. forces his way into the family tomb of the murdered man. a feast to be prepared and invites the statute which been erected over his vie tim to be his guest. The ,tone guest appears at
table as invited, compels Don Juan to follow him, and. the measure of his sins being full, delivers him over to hell. This drama was early transplanted to Italy, where it wad worked over by l iefignini and by Giliberto. not later than 1650. It then found its way to Paris, and be came the basis of de pi, •re (16.5S). of Lr fils •rimin( 1 of De Villiers (1660), of the Don Juan of Mulii‘re (1665), and of still other versions by Ho-humid and Corneille. In England it was utilized by Shad well as the groundwork of The Libertine (1670. lu the seventeenth century it served repeatedly in Italy as a theme for opera. being used by Gluck, in a ballet which enjoyed great popu larity, and later handled successively by Reglii Ciniarosa, Albertini, Gazzailiga, lint' many later composers. All if thee were thrown into oblivion by Mozart's immortal work. lion Gio ran ni. In more recent linies Don Juan has con tinued to be a favorite theme for poet. and novel ists. among whom may be mentioned: Prosper Les tinos du drama. Don Juan de Martina :Byron.
Balzae, and Flaubert's pos11111111011, fragment. Consult: Picatoste, D.»! Juan T