Don Juan, the "Seducer of Seville," originated as a hero-villain of Spanish folk legend, is a famous lover and scoundrel who has made more than a thousand sexual conquests. One of Molière's best-known plays, Don Juan was written while Tartuffe was still banned on the stages of Paris, and shared much with the outlawed play. Modern directors transform Don Juan in every new era, as each director finds something new to highlight in this timeless classic. Richard Wilbur's flawless translation will be the standard for generations to come, as have his translations of Molière's other plays. Witty, urbane, and poetic in its prose, Don Juan is, most importantly, as funny now as it was for audiences when it was first presented.
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Molière (1622–1673), born Jean-Baptise Poquelin, was a widely renowned French poet, playwright, and actor.
When the highly successful Tartuffe was chased from the stage by religious militants who saw sacrilege in it instead of satire, Moliere reactively adapted an established, moralistic hit, the Spaniard Tirso de Molina's Burlador de Sevilla, the story of the damnation of the seducer Don Juan. He wrote Don Juan in prose, with all the sharpness, gusto, and flair for comedy, high and low, of his verse masterpieces. Wilbur has translated six of Moliere's verse plays better for both stage and page than has anyone else, and he serves Don Juan's prose equally well, allowing Moliere's piquant, disquieting ambiguities full play. Don Juan appears as at once the most intelligent and attractive character and a scoundrel who thoroughly deserves being dragged to Hell by the commander's statue. The supporting characters are all simultaneously pitiable dupes and risible, often hypocritical fools. The crowning contradiction is the play's happy, hence comedic, ending, achieved by the tragedy of its hero's damnation. The bluenoses weren't amused, of course, and forced early closing on Don Juan, too. Ray Olson
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