Don Juan in the context of "Mozart"

Gabriel Téllez, O. de M. (24 March 1583 – 20 February 1648), also known as Tirso de Molina, was a Spanish Baroque dramatist and poet, as well as a Mercedarian friar, and Catholic priest. He is primarily known for writing The Trickster of Seville and the Stone Guest, the play from which the character Don Juan originates. His work also includes female protagonists and the exploration of sexual issues.

Man and Superman is a four-act drama written by George Bernard Shaw in 1903, in response to a call for Shaw to write a play based on the Don Juan theme. Man and Superman opened at the Royal Court Theatre in London on 21 May 1905 as a four-act play produced by the Stage Society, and then by John Eugene Vedrenne and Harley Granville-Barker on 23 May, without Act III ("Don Juan in Hell"). A part of the third act (Scene 2), was performed when the drama was staged on 4 June 1907 at the Royal Court. The play was not performed in its entirety until 1915, when the Travelling Repertory Company played it at the Lyceum Theatre, Edinburgh.

The Trickster of Seville and the Stone Guest (Spanish: El burlador de Sevilla y convidado de piedra) is a play traditionally attributed to Tirso de Molina, although several scholars now attribute it to Andrés de Claramonte. 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. Set in the 14th century, the play is the earliest fully developed dramatisation of the Don Juan legend.

Ulysses is a modernist novel by the Irish writer James Joyce. Partially serialised in the American journal The Little Review from March 1918 to December 1920, the entire work was published in Paris by Sylvia Beach on 2 February 1922, Joyce's fortieth birthday. It is considered one of the most important works of modernist literature and a classic of the genre, having been called "a demonstration and summation of the entire movement".

Ulysses chronicles the experiences of three Dubliners over the course of a single day, 16 June 1904 (which its fans now celebrate annually as Bloomsday). Ulysses is the Latinised name of Odysseus, the hero of Homer's epic poem the Odyssey, and the novel establishes a series of parallels between Leopold Bloom and Odysseus, Molly Bloom and Penelope, and Stephen Dedalus and Telemachus. There are also correspondences with William Shakespeare's play Hamlet and with other literary, religious, and mythological figures, including Jesus, Elijah, Moses, Dante Alighieri and Don Juan. Such themes as antisemitism, human sexuality, British rule in Ireland, Catholicism and Irish nationalism are treated in the context of early-20th-century Dublin. It is highly allusive and written in a variety of styles.

Don Juan is an English unfinished satirical epic poem written by Lord Byron between 1819 and 1824 that portrays the Spanish folk legend of Don Juan, not as a womaniser as historically portrayed, but as a victim easily seduced by women. Don Juan is a poem written in ottava rima and presented in 16 cantos in which Lord Byron derived the character of Don Juan from traditional Spanish folk legends; however, the story was very much his own. Upon publication in 1819, cantos I and II were widely criticised as immoral because Byron had so freely ridiculed the social subjects and public figures of his time. At his death in 1824, Lord Byron had completed 16 of 17 cantos, whilst canto XVII remained unfinished.

Aristides Damalas (Greek: Aριστεíδης Δαμαλάς, alternative spellings Aristidis or Aristide; 15 January 1855 – 18 August 1889), known in France by the stage name Jacques Damala, was a Greek military officer-turned-actor, and husband of Sarah Bernhardt in his last years. Damala's characterisation by modern researchers is far from positive. His handsomeness was as notable as his insolence and Don Juan quality. Writer Fredy Germanos describes him as an opportunistic and hedonistic person, whose marriage to the great diva would inevitably intensify and maximise his vices, namely, his vanity and obsession with women, alcohol, and drugs.

Dom Juan ou le Festin de Pierre ("Don Juan or The Feast of Stone") is a five-act 1665 comedy by Molière based upon the Spanish legend of Don Juan Tenorio. The aristocrat Dom Juan is a rake who seduces, marries, and abandons Elvira, discarded as just another romantic conquest. Later, he invites to dinner the statue of a man whom he recently had murdered; the statue accepts and reciprocates Dom Juan's invitation. In the course of their second evening, the stone statue of the murdered man charms, deceives, and leads Dom Juan to Hell.

Molière's comedy derives from the Spanish play The Trickster of Seville and the Stone Guest (1630), by Tirso de Molina, but each playwright presents a different interpretation of the libertine protagonist. Molière's Dom Juan is a French man who admits to being an atheist and a free-thinker; whereas, de Molina's Don Juan is a Spanish man who admits to being Catholic, and believes that repentance for and forgiveness of sin are possibilities that will admit him to Heaven, but death arrives early, and thwarts his avoiding moral responsibility for a dissolute life; in both the Spanish and the French versions of the comedy, Dom Juan goes to Hell.

Don Juan Tenorio: Drama religioso-fantástico en dos partes (Don Juan Tenorio: Religious-Fantasy Drama in Two Parts) is a play written by José Zorrilla and produced in 1844. It is the most romantic of the two principal Spanish-language literary interpretations of the legend of Don Juan. The other is the 1630 El burlador de Sevilla y convidado de piedra (The Trickster of Seville and the Guest of Stone), which is attributed to Tirso de Molina. Don Juan Tenorio owes a great deal to this earlier version, as recognized by Zorrilla himself in 1880 in his Recuerdos del tiempo viejo (Memories of the Old Times), although the author confuses de Molina with another writer of the same era, Agustín Moreto.

Don Juan, Op. 20, is a tone poem in E major for large orchestra written by the German composer Richard Strauss in 1888. The work is based on Don Juans Ende, a play derived from an unfinished 1844 retelling of the tale by poet Nikolaus Lenau after the Don Juan legend which originated in Renaissance-era Spain. Strauss reprinted three excerpts from the play in his score. In Lenau's rendering, Don Juan's promiscuity springs from his determination to find the ideal woman. Despairing of ever finding her, he ultimately surrenders to melancholy and wills his own death. It is singled out by Carl Dahlhaus as a "musical symbol of fin-de-siècle modernism", particularly for the "breakaway mood" of its opening bars.

The premiere of Don Juan took place on 11 November 1889 in Weimar, where Strauss, then twenty-five, served as Court Kapellmeister; he conducted the orchestra of the Weimar Opera. The work, composed when Strauss was only twenty-four years old, became an international success and established his reputation as an important exponent of modernism. Strauss often conducted the work in concerts during his long career, and the piece was part of the first recordings that he made in 1917. The last time he conducted the work was in 1947 with the BBC Symphony Orchestra during his last tour outside of Germany.