Don Juan Tenorio: A Romantic Reimagining
What Makes Zorrilla’s Work Original?
The theme of Zorrilla’s drama was not new, having been explored by authors like Gabriel Téllez for centuries. Zorrilla’s romantic version, written in twenty days, differentiates itself through subtle details and new elements. However, the key difference lies in the protagonist’s nature.
Unlike other Don Juan portrayals, Zorrilla’s Don Juan undergoes a radical transformation upon falling in love with Doña Inés, the ideal woman. This sacrificial love enables his redemption. He is saved from damnation at the last minute through his remorse and Doña Inés’s prayers. Don Juan is saved by love.
A Classic Parody
Don Juan Tenorio is a significant work of Spanish Romantic drama, acting as a powerful parody of the classic tale. The drama is divided into two parts: the first depicts the libertine’s story, while the second culminates in the sinner’s salvation.
Interestingly, Don Juan’s sins are not against the Holy Spirit but are considered ‘normal’ sins. In contrast, Don Gonzalo, the righteous man, faces the possibility of damnation for sins like pride and hatred. The scene where Don Juan kneels before the Commander, confessing his love, is particularly poignant.
Numerous references to satanism emphasize Don Juan’s strength, physical prowess, and recklessness. Ultimately, he achieves salvation through perfect contrition, expressing remorse for his sins and invoking God’s mercy.
Religious and Social Context
Zorrilla’s Don Juan Tenorio has a strong religious foundation but introduces innovations compared to earlier versions, particularly regarding repentance and salvation. It reflects the society of the time, its customs, and swashbuckling themes alongside the religious aspects.
This work is engaging and accessible, with an intriguing plot that makes it a worthwhile read.
Don Juan Tenorio: A Character Study
The protagonist, Don Juan Tenorio, embodies romantic qualities and intense emotions, yet he is also a womanizer. He undergoes a significant transformation throughout the play.
Initially, he is portrayed as an extraordinary man, superior to others due to his achievements, wealth, and reputation for honesty, bravery, and nobility. However, after the deaths of Don Luis Mejía and Don Gonzalo, his reputation shifts to that of a cruel, provocative, and seductive gambler. He disrespects everyone and everything, including reason, justice, and religion, offending women and dueling with men.
Ultimately, he dies for love, at the feet of Doña Inés, the only woman who earns his respect and admiration. While not explicitly described, Doña Inés is implied to be beautiful, brave, charming, and passionate.
At the play’s beginning, Don Juan boasts of his bet with Don Luis, claiming he can commit more crimes and conquer more women without being apprehended. He chooses Italy as the setting for his adventures, fleeing to Rome after escaping soldiers who intend to hang him. In Naples, he continues his wickedness, later recounting his exploits to Don Luis.
Linguistic and Genre Characteristics
Zorrilla possessed a remarkable ability to write poetry and narrative verse with ease. His writing often features intricate wordplay and repetitive sounds, creating a distinct musicality.
During this period, the vernacular language gained prominence, considered as worthy as Latin. Due to Spain’s global influence, Castilian Spanish gained widespread recognition, becoming the official and universal language of the time.
Meter and Rhyme
- Act 1: Redondillas (abba), limericks (Abbaba, ababa, AABB), and romance (EA).
- Act 2: Quatrains, ovillejos (aabbcccddc), and loose lines.
- Act 3: Quatrains (abab), limericks, leaflets (abbcdeec), romance (é), and six eight-syllable verses (ababab).
- Act 4: Quatrains, tenths (abbaaccddc), and two romances (á, é).
- Part 2, Act 1: Redondillas, tenths, and limericks.
- Part 2, Act 2: Quatrains and tenths.
- Part 2, Act 3: Quatrains, stanzas, and hendecasyllabic quatrains (abab, abba).