THE DON JUAN TENORK), ZARZUELA OF HORRILLA: THE PROGRESSWN AND MODULATION OF A THEME Thesis for the Degree of Ph. D. MlCHiGAN STA'fE UNWERSETY George Phillip Mansour 1965 0-169 This is to certify that the thesis entitled The Don Juan Tenorio, Zarzuela, of Zorrilla: The Progression and Modulation of a Theme Date presented by George Phillip Mansour has been accepted towards fulfillment of the requirements for Ph.D. 4 June 1965 degree in SEaniSh Language and Literature fiMW Major professor h-._____‘ L [BR A R Y Michigan Scare University I": a!" WW ' Wllljlflflll“ WM 3 1 020 662 ”W L TIM“. fl '- r- :- (x7#rq%:_ ,: __ G24r13¢7/ ‘fflfia+4%aflge if M "71> 9'3 fiE§=rsjtyé f, 233 #308 le3e39 w 1,. . so? 1:“ .. .gg" ‘ 3 ll. 1"... f1 ABSTRACT THE DON JUAN TENORIO, ZARZUELA OF ZORRILLA: THE PROGRESSION AND MODULATION OF A THEME by George Phillip Mansour The Don Juan Tenogig, zarzuela, of Jose Zorrilla, although written staged, and published in 1877, and eas- ily accesible in his Obras completas (Valladolid, 1943), has not been intensely studied until the present thesis and its accompanying edition. A close examination of the two existing editions—-1877 and 1943--and a compar- ison of them.with the manuscript on file at the Biblio; teca Nacional will reveal a series of textual variants. The two fundamental purposes of the present study are, therefore: a resucitation and evaluation of this £95; gggle, and the establishment of a definitive text. To do this I have divided the thesis into four parts. In Chapter I, I have provided, as background for the study, a discussion of the four Don Juan zarzuelas that preceded the writing of the one by Zorrilla; these are: Qg§§§_gg pen Jeep, Manuel Bretdn de los Herreros; Q1; Tenorio moderno, José Maria Nogués; El convidado de_piedra, Rafael del Cas- tillo; Las mocedades gelggg,ggan Tenorio, Juan de Alba. In studying these works, I have prepared an analysis of the dramatic action, an interpretative discussion of the per- sonality of the four protagonists, and a comparison between the zarzuelas and the traditional Don Juan trilogy of Tirso George Phillip Mansour de Molina, Antonio de Zamora, and José Zorrilla. As conclu- sive evidence of their worth, I have pointed out their con- tributions to the theme. The progression of this theme within these zarzuelas has been, rather, a regression; that is, the general tendency was to move from the innovative techniques of Bretdn and Nogués to the more traditional ap- proach of Castillo and Alba. But yet, in spite of this, the latter two introduced novel aspects and elements into their conventional interpretatinn. In the second chapter I have preceded the study of 20- rrilla's zarzuela with a detailed examination of the events and attitudes which led to the composition of this refundi- giég. To provide a,more meaningful understanding of this new interpretation of Don Juan, Zorrilla began a Lezenda Q; 323 gggg Tenorio from which I have extracted, for pure poses of discussion, relevant data. In my examination of the Egg Juan Tenggig, zarzuela, the dramatic action of the work has been studied, the character of the protagonist analyzed, a contrast between the personality of this Don Juan and that of the play-zarzuela tradition made, the style considered, the language and imagery appreciated, and the extensive, effective use of the plastic element pointed out. In the zarzuela Zorrilla distinguished be- tween the concept of the burlador and that of donjuanismo-- the former being the tradition of Tirso's protagonist, and the latter, the emergence of the 22222.29191; although heretofore unnoticed in the work, the protagonist of George Phillip Mansour this zarzuela is a superlative expression of the latter. In the third chapter, entitled, "The Zarzuela Versus the Drama,“ 1 have undertaken a careful comparison of the two major Don Juan dramatic works of Zorrilla. In con; trasting the two, I have taken into consideration the plot structure, the scene sequence, the make-up of the two Don Juans, the roles of the minor characters, and the famous escena del sofa. The fourth part of the thesis, in the form of an Ap- pendix, consists of a transcription of the text of the Egg} ggele, based on MS. 14570 of the Biblioteca Nacional. I have included explanatory annotations of the text for purl poses of a clarification of textual variants, a verse com; parison with the play, and a demonstration and explication of certain passages within the zarzuela which Zorrilla later altered. In spite of the vitriolic criticism made by other writers about this zarzuela in their cursory studies, the present thesis demonstrates that Zorrilla, in the follow- ing ways, created in his refundicién a.more stylized, su- perbly constructed dramatic work: through the reduction of action and characterization to the essential, through the correction of certain "errors” committed in the play version, through the development of Inés as the culminant expression of the Romantic feminine ideal, through the specialized use of select minor characters, and through the understanding and masterful display of artistic syn. metry, balance and effect. .\’ \5 ‘5 THE DON JUAN TENORIO, ZARZUELA 0F ZORRILLA: THE PROGRESSION AND MODULATION OF A THEME By George Phillip Mansour A THESIS Submitted to Michigan State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY Department of Romance Languages 1965 TABLE OF CONTENTS INTRODUCTION. . . . . . . . . . . . . . 1 Chapter I. THE DON JUAN ZARZUELAS OF THE NINETEENTH CENTURY 17 II. THE DON JUAN TENORIO, zARzUELA 0F ZORRILLA. . 61 III. THE zARzUELA VERSUS THE DRAMA . . . . . . 126 CONCLUSION . . . . . . . . . . . . . . 157 BIBLIOGRAPHY. . . . . . . . . . . . . . 164 APPENDIX . . . . . . . . . . . . . . . 167 PRELIMINARY STATEMENT. . . . . . . . . 168 TEXT, DON JUAN TENOgLQ, ZARZUELA . . . . . 17o NOTES . . . . . . . . . . . . . . 265 INTRODUCTION In the work Don Juan Tenoglg, zarzuela, José Zorrilla has skillfully combined two qualities peculiarly Hispanic: the personality of Don Juan Tenorio and the musical-dramatic form of the zarzuela. Ever since Tirso de Molina created the first Don Juan Tenorio of Spanish dramatic literature, many writers of the peninsula and others foreign to Spain have picked up the theme and have molded it in their own manner. In peninsular dramatic literature, the most widely known versions of the legend are: E; burlador g; Sevilla of Tirso, fig,hey|pl§gg,gge_gg,§e cumpla g; gegga ggg,ggwge,pegge of Antonio de Zamora, and the play 22g gggg Tenorio of Zorrilla. Much has been written about Tirso's creation, and this has given rise to many polemics. -Diversified ex- poundings upon this literary figure have placed him at both extremes of the moral, religious, sexual, social, 1 and dramatic scales. In spite of the harsh treatment given Don Juan by some writers, this literary personality 1See, for example, Georges Gendarme de Bevotte, Mgende Le Don Juan, I (Paris, 1911), pp. 9- 55; Leo Weinstein, The Metamorphoses Lf Don Juan (Stanford, 1959), pp. 12- 26; Gregorio Marafion, "Notas para la bio- logfa de Don Juan," Revista Le Occidente, 11,15-53; Allen Sheram Moorefield, An Evaluation 2; Tirso de Mo- lina' s "Burlador Le Sevilla y convidado Le piedra with the Origin and Development of the Don Juan Theme (un- published thesis: University of Tennessee, 1944). 2 as represented in the work of Tirso de Molina does not lack palatable traits, nor by any means does he represent a complete negation of Good, be it in regard to morality or to theology. The Don Juan of Tirso stands out as a self~interested, defiant individual who concerns himself throughout the major portion of the work with the immediate. For him, the highest good is the conquering of the present. To achieve this end, he demonstrates estimable examples of respect, humility, and truthfulness which he employs and eventually exploits for his own self-interested designs. For this character, woman represents a sex and not an individual. She comes into existence only through his desire to possess. Also, this feeling is not for a permanent possession of the female, but merely a temporal attitude directed towards the fulfillment of a bugla. This achievement is preceded by intense pangs of antici- pation which cause one to question which is the more im- portant or the more real: the anticipation or the reali- zation. In any case, the bugla, and not the sexual pleas- ure derived stands as the primary consequence for Don Juan. It has been said that the Don Juan of Tirso is a fem- inoid individual.principally owing to his use of deceit and prevarication. To defend this argument Gregorio Ma- rafion points out the countless times this literary fig- ure lies, and he states: "e1 mentir es también un ras- go predominantemente femenino, porque la mentira...biolé- 3 gicamente considerada es...una manifestacion defensiva de debilidad...."2 What Marafion says may be true; in his evaluation, however, he does not attribute much importance to the fact that in the majority of the cases Don Juan directs his prevarications only to the female sex. Very rarely Don Juan lies to men, but when he does, it is merely to insure the success of a future bgglg. This limited use of falsehoods to his fellow man might be related to the strict code of honor of the sev- enteenth century, or it might be used in the interpreta- tion of Don Juan as being representative or symbolic of universal man. In this latter case, a prevarication di- rected to men would in reality ricochet and redirect itself to him; that is, he would be actually lying to himself since he represents a portion of Everyman. Also, by lying, or trying to deceive himself, he would be at- tempting to break down and escape from reality, a reality of which he so intensely desires to be part. With regard to the universal representation of this figure, one may say that he can be identified with man's timeless drive or attraction to woman. His considering woman as being only the female sex is evidenced in his attempts to burlar the four female members of the work: on the one hand, Ana and Isabel, and on the other, Aminta and Tisbea. Both groups represent the two extremes of 2Marafi6n, p. 43. 4 the social hierarchy, but are on the same biological plane. Approximately one hundred years after Tirso’s §E£- lager, Antonio de Zamora reworked the basic plot-of this comedia and presented in 1727 his fig hay plazo que no gg cumpla g1 deuda que pg sglpaggg g g; convidado g2 piedra. Seventeen years later, in 1744, the play was published. It follows in the tradition of the Don Juan of Tirso; Za- mora, however, does not so skillfully succeed in creating the dynamic character nor universal image as did his seventeenth-century master. In spite of its shortcomings, it was this play by Zamora that was the favorite for All Saints' Day} until it was superseded by the 993 J_u§._n 32- Eggig of Zorrilla in 1844. By means of the highly involved plot of this work, Zamora fashions a Don Juan in whom the sole originality of exaggerating to such an unrealistic extreme the char- acter of his model results in a contradictory personage, "une sorte de maniaque dangéreux, une brute fre'nétique."4 In an attempt to create a more human, more realistic figure, Zamora has caused his Don Juan to emerge as an 3Guillermo Diaz Plaja, Nuevo asedio a Don Juan (Buenos Aires, 1947), p. 106. 4 Gendarme de Bévotte, p. 163. 5 awkward character, void of grace and skill in the art of life, love, and self-defense. He appears at the beginning of each situation as a defiant, courageous being; upon thrusting himself deeply into the conflict, however, he suddenly becomes aware of his many shortcomings and must resolve his problems in the easiest manner which, for him, is normally by fleeing. This incongruous attitude tends to create an air of falseness and weakness on his part. The amorous episodes in the work are equally as in- congruous. On the one hand, the Don Juan of Zamora en- Joys a relationship with one character; that is to say, he shares--not steals--momentary love, and not sexual pleasure, with Beatriz. However, on the other hand, when he is attempting to "conquer“ Ana, brute force re- duces him to a primitive animal. This Don Juan lacks all form of finesse and understanding of woman. His actions do not represent those of a refined, polished lover, but rather those of a savage rapist. The result is an irregular figure that lacks the suayeness of a Egg, lgggg but who maintains in an odd fashion the element of defiance. To create a.mmre human personality, Antonio de Zamora has caused the emergence of an exaggerated char- acter—-exaggerated in his awkwardness, in his manifesta- tions of fear,.and in his ruffian attitude. The most popular of the many versions of the theme is without any doubt the play Qgg,g§§g Tenorio of José 6 Zorrilla, first presented on stage 28 March 1844. Since that date the literary worth of the work has been exten- sively debated by both scholars and journalists. Their interests have been the literary defects of the play, the popular beauty of the versification, the irreligiosidad of the Second Part and of the protagonist, and Zorrilla's debt to previous authors such as Zamora, lérimée, and - Dumas. The Don Juan of Zorrilla stands out as a character driven by impulse, daring, and impatience. This figure is also plagued by a feeling of egocentricity that stems, more than likely, from his noble origin, independent wealth, and his skill in the art of self-defense. Aware of these traits, Don Juan exploits them. He attempts to make him- self the nucleus of all action and to elevate himself above his fellow man. Being the center of activity, he conse- quently feels compelled to direct it as well. If the ac- tion does not meet with his approval or in the least sense detracts from his importance, his immediate reaction.must be released through an impulsion-triggered valve of ir- ritability and impatience. The protagonist in this work has virtually attained the stature of legend. This is seen primarily from the point of view that his deeds of brewery and daring appear principally as a topic for conversation, instead of being executed or performed for the audience.' 7 Perhaps the most unique feature of this Don Juan in- terpretation appears in the Romantic overtones used by Zorrilla in creating him, especially the humbling powers of spiritual love and exalted womanhood. The powerful and dynamic nature of Don Juan becomes reduced to a hum- ble, subservient quasi-puppet by means of the effect of a truly spiritual amorous experience. Don Juan adores Ines not for her physical qualities, but rather for her ineffable, spiritual virginity, which has exercised on him a didactic influence that sermons, priests, or jails were unable to achieve. _ The Don Juan tradition is one of the two Hispanic currents that José Zorrilla incorporates in his revised work of 1877, 223 Juan Tenogig, as I originally stated. The second one is the form itself; that is, the zarzuela. In the history of dramatic art in Spain, various forms haye emerged, some of which have cognates in uni- versal theater, while others, such as the zarzuela stand out as being indigenous to the peninsula. It can be said that the zarzuela is a dramatic composition of variable length in which the author alternates dialogue to be re- cited with parts to be sung. To say that this particular genre is indigenous or unique to Spain seems to be a doe cidedly forceful statement. In order to temper the ef- feet that this alleencompassing declaration might create, 1 shall attempt to interpret it. Writers such as Newmark5 5laxim Newmark, Dictionary 2; Spanish Literature (New York, 1956). 8 and Sainz de Robles6 have considered the zarzuela as a predecessor of the Opera, as well as being the Spanish equivalent of the English musical play, the French gpéra comigue, the German singspiel, and the Italian opereta. Genetically speaking, what they say may be completely ac- curate; the disparity in interpretation, however, arises when one considers the purposes for combining the two artistic forms of drama and music. In the case of the four related forms mentioned, as well as opera, would it not be safe to infer that the combination of drama and music is executed in an attempt to exploit the intrinsic powers of the two factors in order to achieve a conjunc- tive product of artistic harmony? In the case of the zarzuela the Joining of the two forms does not necessarily stem from artistic endeavor but rather from a democratic, popular spirit existing in even the rudimentary forms of Spanish literature. The essence of the zarzuela appears in the peninsula in the early attempts at a popular drama that predates opera and operetta. Even the music and songs themselves attest to the desire for a popular form with a similar appeal, for the songs quite frequently were not composed with the drama in mind, but rather were selected from the vast repertoire of coplas and villanci- 22g of the populace. 6Federico Carlos Sainz de Robles, Ensa o g_ up dic- W 91.9. literatura, I (Madrid, 1949 . 9 Briefly, the history of the dramatic form zarzuela shows that there is a constant endeavor to include the musical element in drama. Beginning with the works of Juan del Encina, Lucas Fernandez, and Torres Naharro, one finds the appearance of villanciggs in the églogas, dialogos, and comedias of these dramatists. In these cases, as Cotarelo y Mori7 suggests, the music was al. ready known and was popular; at times, however, the dramatic poets supplied new lyrics. Lope de Vega con- tributes to this tendency with his Maestro g; danzar, a play which Calderon de la Barca was later to adapt to his style. In Lope's work the music and the dance form the crux of the play. Calderon, in his Jardfn gg Falerinaf3 advances the structural development of the zarzuela not only by incorporating music, song, and dance in the 2239- gig? and attributing to these an importance equal to that of the spoken parts but, also, by reducing the length of the work to two Jornadas. In his monumental work Cotarelo y Mori comments on the origin of the name zarzuela in this manner: sea g;_drama.lfrico 92 Es aha desde gg origen hasta fines g2; siglo XIX (Madrid, 19345, p. 21. 8There is a disagreement about the date of this work; see Cotarelo yMorig p. 39, and Valbuena Briones, Obras eggpletas of Calderon, II (Madrid, 1959), p. 1885. 9This work has also been called a zarzuela; see Val- huena Briones. 10 En el Real Sitio del Pardo, pero alejado del palacio y en medio de los bosques que circufan la posesion, se edifico una casa bastante comoda para que el Infante don Fernando, con su servidumbre, pasase a1- gunas noches al volver de sus cacerfas o cuando tenfa que emprender otras al amanecer del dfa siguiente. El lugar en que la casa se habfa construido se Ila- maba y se llama la Zarzuela.10 This site was embellished by Felipe IV who surrounded it with gardens, feuntains, and statuary. The days that the king was unable to hunt, comicos would come from Madrid to present some short skits which involved very little scenery and in which song and music played a major role. These performances came to be called "fiestas de la Zar- zuela." One of the earliest, if not the earliest, of the productions occurred in the year 1657 with a work by Calderon, El golfo Q2 las sirenas, an "égloga piscatoria" consisting of one act, preceded by “1a loa de costumbre" and followed by a mojigang . Later in the same year, Calderon produced a second work, El laurel d; A olo,,zar- zuela 9g dos jornada . These two works are characteristic of the rudimen- tary zarzuela of the seventeenth century, due primarily to the content and its manner of being presented. The zarzuela of this period could very easily be termed the “mythological" zarzuela because of its subject matter and.the demands of the Barroque tradition. 10Cotarelo y Mori, p. 43. 11 During the major portion of the eighteenth century the zarzuela was trampled underfoot by the French Neo— classicists. With the entrance of the new dynasty into Spain, new ideas and changes were introduced into the society of the day. rThe "spoken" theater could depend upon the people for its support, but the zarzuela, "espec- téculo aristocratico y caro, mientras no fuese entrando en la corriente general popular, necesitaba...el amparo de la corte regia y la estimacidn.y gusto de los monarcas."H This regal support became difficult, due mainly to the fact that neither the French king nor the Italian queen on the Spanish throne understood Spanish to any great ex- tent. Felipe V concerned himself principally with the Wars of Succession and spent a considerable amount of time away frdm the capital; while, on the other hand, the queen in.Madrid preferred to attend "los espectaculos ha- blados o cantados en su propia lengua italiana."12 The zarzuela, however, that struggled to survive followed the style and appeal that it had employed during the latter part of the seventeenth century. The school of Calderdn was upheld until midcentury by two principal writers: Ans tonic de Zamora and José de Cafiizares. The zarzuela of the second half of the eighteenth century consists exclusively of the work of Ramon de la 11Cotarelo y Mori, p. 73. 12mm. 12 Cruz, the writer who knew how to raise the zarzuela from its state of prostration, give it new life, and imprint upon it a national and popular seal which, prior to his time, it did not have. With Ramon de la Cruz, there ap- pears a definite turning point in the development of this relatively new dramatic form. From the time of its actual appearance with Calderon de la Barca, the zarzuela had dealt primarily with subjects taken from classical mythol- ogy or subjects based on French and Italian operas, in which case the original music was maintained but Spanish lyrics were provided. The second stage in the develop- ment of the zarzuela begins with Ram6n de la Cruz and continues until mid-nineteenth century; this is the pop- ular zarzuela, a work designed for the populace, a work containing scenes from daily life, in fact, a work of virtually costumbrista nature. Continuing in the popular zarzuela tradition of Ramon de la Cruz were the writers Ventura de la Vega, Agustin Azcona, Juan de Alba, and others. Also involved in this period are two lesser forms: the popular satirical zarzuela and the zarzuela andaluza. The first of these fonms was produced principally by Ma_ nuel Breton de los Herreros in an attempt to depict sar- castically the effect produced by the French and Italian invasion.and their monopoly of the arts. The second type had as its major exponents Hartzenbusch and Mariano Fer- nandez. This developed from the tendency of selecting individual popular songs and adapting them to the themes 13 of the works into which they were introduced. The year 1848 can be cited as the beginning of the third stage in the development of the zarzuela, for it was in this year that Juan del Peral presented his novel work Ensayo Q2 una zarzuela in which the author attempts a vivid incorporation of the audience into the zarzuela. Eight years later, construction of the Teatro de la Zar- zuela was begun and this also aided in the development of the genre. The period beginning with this Ensayo can be called that of the Vanguard or Artistic zarzuela, for the works from this year represent the "Golden Age" or the flourishing of the zarzuela as a genre. In general, one can say that the productions of this period are not necessarily designed to please the populace, but rather they represent an effort to adapt the standards of art, drama, and music to the demands of the public. The prin— cipal figures of this phase of the zarzuela are Luis de Olona, Francisco Camprodén, Rodriguez Rubi, Garcia Gu- tiérrez, Abelardo L6pez de Ayala, and Emilio Arrieta. In 1877, Jose Zorrilla combined these two constantly developing currentseethe theme and the foams-in his 222 Jug; Tenorio, zarzuela. It is primarily with this work that the-present study will deal. The first chapter of this thesis will concern itself with the nineteenth-century Don Juan zarzuelgs which pre- ceded the presentation of Zorrilla's refundici6n. Those 14 discussed will be gggag d9 22g Jgag by Bret6n de los He- rreros, QB Tenorio moderno by José Maria Nogués, §l_ggg- vidado g2 piedra by Rafael del Castillo, and Las mocedades gg Q23 Jgag Tenorio by Juan de Alba. These works will be studied from several perspectives. There will be an anal- ysis of the dramatic action of each one to determine the possibility of any influence within the four zarzuelas themselves as well as influence received from the Don JUan tradition. The personality of the protagonists will be studied and interpreted to ascertain the dependence of these authors on the Don Juan trilogy of Tirso, Zamora, and Zorrilla, and also to point out the novel aspects that these zarzuelistas may have injected into the personality. And finally, these compositions are included to serve as a partial background for the analysis of the zarzuela of Zorrilla which will be presented in Chapter II. The second chapter will provide a discussion of the factors which led to the reworking of the play Qgg.gg§g Tenorio into a zarzuela. jTo do this it will be necessary to refer to and to quote from the letters of José Zorrilla to his editor Manuel Delgado. Also to make this zarzuela more meaningful, I shall attempt a brief analysis of the Lezenda g2 Qgg‘iggg Tenorio, for a portion of the refundi- giég is based directly on facts and ideas presented in this unfinished work of Zorrilla. The zarzuela will be studied, interpreted, and compared to the Don Juan drama and zarzuela tradition. From this discussion, certain in- 15 novations will be pointed out and evaluated. Near the end‘ of the chapter, several selections from the critics of that time will be cited for the purpose of demonstrating the negative attitude which the zarzuela provoked when it was presented in 1877. I shall offer some plauSible specula- tions as to why the zarzuela failed. With the third chapter, I shall attempt a comparison between the play Don Juan Tenorio and its refundicién Qgg Juan Tengglg, zarzuela. To realize this, I shall study comparatively the plot structure and scene sequence of the two works. The personality of the two protagonists will be discussed, and I shall hold up for consideration a possible difference in the interpretation of the two Don Juans. The minor characters of each work will be compared and their roles will be contrasted. I plan to point out several instances in which Zorrilla, in the zarzuela, cor- rected certain minor errors that he had overlooked when writing the play. And the differences between the two "es- cenas del sofa“ will be examined. Finally, the Appendix will contain the text of the zarzuela, transcribed from MS 14570 of the Biblioteca Na- cional in Madrid. The entire text is presented because of the variants which exist between the MS, the 1877, and the 1943 editions. Following the zarzuela will appear annota- tions based on the text itself. This thesis does not pretend to be a definitive study of the Don Juan theme in literature nor of the zarzuela as 16 a genre. Neither does the present thesis exhaust the pos- sible aspects of study of the Don Juan Tenorio, zarzuela, for additional studies need be undertaken. For example, a comparative study of the music for Zorrilla's zarzuela and Castillo's El convidado dg piedra should definitely be made; since Nicolas Manent prepared the music for both, it would be interesting to see what duplication, if any, exists. The present thesis makes these contributions to the theme: before the writing of this study, the nineteenth- century Don Juan zarzuelas had only been mentioned or par- tially analyzed by other writers; also, no extensive study had been made on the virtually forgotten Don Juan Tenogig, zarzuela; and finally, prior to this thesis, no definitive text of this zarzuela of José Zorrilla had existed. CHAPTER I THE DON JUAN ZARZUELLS OF THE NINETEENTH CENTURY During three centuries--seventeenth, eighteenth, nineteenth--there emerged in Spanish literature three popular plays which treat the Don Juan theme; these are the works of Tirso, Zamora, and Zorrilla. These three dramatic productions have not experienced the same vogue. Tirso's Burlador enjoyed a considerable amount of popu- larity during his own century, but it was cast into ob- livion by the Neoclassicists of the eighteenth century, and the work did not regain any position of esteem un- til the mid-nineteenth century. Zamora's fig hay plazo... served as the favorite for about a century, that is, un- til the year 1844 when Zorrilla produced his Qgg‘gggg Tenorio. Since that time, the work of Zamora has been almost completely forgotten. 0n the other hand, the Romantic interpretation of Zorrilla has remained as the Don Juan play of primary consequence. Just as the popularity of these three productions has fluctuated, so have their interpretations been varied. The burlador of Tirso has been considered, on the one 1 hand, as being representative of all Spain; whereas, on the other,nhe has been selected as embodying a certain 1Arturo Farinelli, Divagaciones hispanicas, II (Barcelona, 1936), 221. 18 portion of universal man.2 Zamorafs character has been called a creation of greater expression than Tirso's,3 as well as a caricature of Don Juan.4 The Don Juan person- ality of Zorrilla has been acclaimed as being as great as the major part of Shakespeare's production;5 however, it has also been criticized for lacking life and for ruining the play.6 He that as it may, one can definitely not deny the immense impact that the Don Juan personality has exercised on life and literature throughout the western world. The personality originated first in life and then.made its appearance in dramas Since then, this figure has frequented the major forms of art: drama, poetry, prose, music, paint- ing, sculpture, and more recently the cinema. One needs only to consult, for example, the rather extensive bibli- ography of Weinstein7 to see at least the vast numerical 2Carlos Egufa, "Don Juan," Tipos del Teatro (Madrid, 1961), p. 30. Leopoldo-Eulogio Palacios, "Don Juan y la mujer diffcil," ABC, 1 December 1964, p. 3. 3Leandra Fernandez de Moratfn, Orfgenes del teatro espafiol (Buenos Aires, 1946), p. 363. 4D. Ibaflez, “El Don Juan Tenorio de Zorrilla," Ciu- dad g2 Dios, cxxv, 107. 5Juan L6pez Nfifiez, Don Juan Tenorio §g_gl teatro, la novela4_z lg poesfa (Madrid, 1946), p. 43. 6Jose’ Zorrilla, "Recuerdos del tiempo viejo," Obras completes, II (Valladolid, 1943), 1802. 7Leo Weinstein, The Metamorphoses 2; Don Juan (Stanford, 1959), pp. 187-214. 19 extension of this theme. A lesser known resulting influence of these three plays can be seen in the deveIOpment of the zarzuela, es- pecially in the Don Juan zarzuelas of the nineteenth cen- tury. In the development of the zarzuela during the last century, five authors chose this dramatic form to convey their interpretation of the Don Juan theme. They are Manuel Bret6n de los Herreros, gggag g; 29g Jgag; José Maria Nogués, Q3 Tenorio moderno; Rafael del Castillo, El convidado g2 piedra; Juan de Alba, Las mocedades gg,§gg Juan Tenorig;‘and José Zorrilla, 22p Juan Tenorig. Each of these authors in his own manner interprets Don Juan; some separate their work completely from the traditional image, and others adhere strongly to the popular view. It is with the first four of these writers that this chapter will principally deal. Manuel Bret6n de los Herreros, "poeta riojano, de singular facilidad y rica vena, versificador maravilloso, ...imitador de Morati’n,"8 has been chiefly known for his satirical comedies in which he holds up for didactic en- tertainment the foibles of women, dotards, and Romantics. Towards the end of his career as a dramatist, however, Breton, with the musical collaboration of Rafael Hernando, ’8Marcelino Menéndez y Pelayo, Discursos d3 critica historica y literaria, VII (Santander, 1942), 265. 20 gave forth his interpretation of the Don Juan personality. The Teatro del Circo in Madrid opened the 1854-55 theatrical season on 9 September 1854 with the staging of §_o_8§§ d_e_ 923 ggag, a zarzuela in three acts and in verse by Bret6n. The work is basically well written and in good verse form.9 The principal figure of the zarzuela can not truly be classified as a Tenorio, but rather as a Don Juan Tra- pisonda.10 Don Juan, after having deceived an Italian singer, intends to marry a marguesa, a widow who is easily swayed and seduced by the eloquence of her betrothed. Don Juan, about to execute his plans with the Marquesa Laura, has his true nature of deceit unmasked by three persons: (1) another galég who has fallen in love with Laura, (2) the above-mentioned Italian girl, who was to sing at the wedding feast, and (3) Marta, a servant and confidante of the marguesa. In the final scene all reconciliations are made; Luis, the rival of Don Juan, gains the hand of the Marquesa Laura; and Don Juan is to fulfill his promise of marriage to the Italian singer Flora. As can be seen from the brief synopsis, the zarzuela has no real connection with the Tisro-Zamora-Zorrilla tra- dition of the Don Juan theme except possibly the fact that the Don Juan of Breton was at one time a burlador 9Cotarelo y Mori, p. 477. IOLQLQ. (That is, a scheming, contriving Don Juan.) 21 of women, that is, at least with Flora. The second re- lationship existing between the zarzuela and the tradi- tion of the trilogy is the rivalry between Don Juan and Luis. In Tirso, this can be seen between the protago- nist and the Marques de la Mota; in Zamora, between Don Juan and Don Luis de Fresneda; and in Zorrilla, between Don Juan and Don Luis Mejia. These two factors provide the only similarity in plot between Breton's interpretation and the traditional image of Don Juan exemplified by the trilogy. As far as the personality of the protagonist of the zarzuela is concerned, one can see another two facets which have their cognates in the three plays mentioned. In the first place, we know merely from the dialogue introduced to characterize the protagonist that this Don Juan was capable of exerting sufficient verbal influence to ef- fectuate a bgglg (III.x).11 This was the deception of Flora. Traces of this aspect appear within the action of the zarzuela, but only in a less stressed manner. This quality can be seen when Don Juan makes his first appearance in the zarzuela and asks the Marquesa Laura for a salutatory embrace. At first this is refused; how- ever, through a manifestation of Don Juan's persuasive ‘ 11Manuel Bret6n de los Herreros, Cosas gg Don Juan (Madrid, 1854). All subsequent references to this work Will be taken from this edition. 22 will, the desire is granted (I.ix). This outgoing, pos- itive, and persuasive drive is innately present, but in a lesser tone than in the trilogy. The second facet of the personality of this Don Juan, also present in the Don Juans of the three plays, is his extensive use of prevarication. The facet is virtually always mentioned in the discussion of a Don Juan type. In the zarzuela of Bret6n de los Herreros, this strong feature exerts itself immediately upon Don Juan's entrance. Don Juan employs it in this particular scene in-the expla- nation of his tardiness. He explains that he took time to hunt a "par de gazapos" to give to his Marquesa. He describes all the hardships that he underwent, the rough terrain that he had to cover, and finally the industria that he used to kill the two with one shot (I.ix). (Ace tually, as he admits in an aside, they were purchased for a peseta in the Plaza Mayor. This is just one of the many examples that could be cited to demonstrate the fa- cility with which Don Juan prevaricates. This aspect of his personality is used by the protagonist first as a means to impress the Marquesa, whom Don Juan has won principally through his ability to distort fact and create a fantastically impressive story. This use of lie and de- ception appears basically, as is to be expected, for the purpose of bettering the protagonist's material status. It is at this point that the similarity between the Don 23 Juan of Bretén and the Don Juan of the Tirso-Zamora-Zorri- lla tradition ends. Unlike the other three Don Juans, the principal char- acter of this zarzuela has neither admirable, nor noble, traits. At one point in the work, the reader begins to feel that an element of humility may enter into the char- acter's make-up;1his is, however, merely another of the many deceptions of the Don Juan of this zarzuela. The action occurs in the scene in which Don Juan has just offered an excuse for his having arrived late. He has deceived the Marquesa into believing that he spent the night with his best friend, who was suffering from "un célico atroz." Then appears the following dialogue: D.J: ...iSoy yo digno de que me ames tu, alma mfa? Marq.: iOh! sf. D.J.: No; a tan alto solio nunca ascender mereci, Laura querida. (Esta sf que es una verdad de a folio.) (1.x) This passage is quite reminiscent of the Golden Age tech- nique of "deceiving with the truth." The beginning of this selection has a flavor of humility; upon reading the second portion, however, we become aware of the scheming of Don Juan. He employs the truth in a pseudo- humble fashion to attain the deception of the Marquesa purely for self—directed materialistic ends. In addition, this Don Juan lacks the vigor of the 24 traditional figure. His personality does not attain the level of forcefulness that popular opinion would demand. Related to this lack of vigor is the fear on the part of Don Juan of having his past discovered. At the moment that the Marquesa Laura expresses anger or disgust, Don Juan in an aside, fears that she probably knows his biog- raphy (II.v). Although quite frequently he demonstrates his diffuseness (e.g., 1.x; II.v; lII.viii), he wavers too much to appear convincing. These two factors seem incongruous. One would expect his facility for prevar- ication and his flippant verbosity to have attained such a degree of proficiency that would prevent hesitation and lack of persuasiveness. This inability to convince, except naive Laura, for example, counteracts the attempted forceful personality and creates an appearance of insipid- ness on the part of this Don Juan. As far as Bretén's technique is concerned, he char- acterizes Don Juan in the first eight scenes of Act I by permitting the other characters to discuss the personality and the ways of Don Juan before he makes his appearance. This can be seen, for example, first in Act 1, Scene 1, where the Marquesa merely makes one statement about her fiance: 3y don Juan, que no viene! (1.1) Immediately, through the impact of one sentence, one learns of the tardy habits of the protagonist. In Scene v of the same Act, 25 Don Juan is discussed by Marta and Ambrosio, the gracioso. In a later scene (I.viii), Don Juan again becomes the topic of conversation, and again certain facets of his personality are foreshadowed. It is in the passage between Luis and Marta that basic elements of his personality are brought to the attention of the audience. And in the same passage the significance of the title of the zarzuela is clarified: Marta: Luis: Marta: Luis: Marta: iEh! dquién sabe...? A su don Juan, acaso es Laura tan fiel, por falta de otro galan a quien compare con él. Es el mejor iman para cautivar hermosas. tonal? Sin ser cosa don Juan, es hombre que tiene cosas. iCosas! Sf, ese don de gentes que, aunque lo inspire Luzbel, nos mueve a ser indulgentes para el que nacio con el: ese feliz privilegio que anima a un mala cabeza para hacer un sacrilegio, que pasa por agudeza; y aunque al mundo escandalice, no importa: todo cristiano se encoge de hombros y dice: lQue cosas tiene fulano! (I. vi) We see from the discussion of Luis and Marta that these “Cosas de don Juan" refer principally to his "ways," that is, his facility for manipulating people, his overpowering and persuasive personality, and his means of deception. 26 From this conversation, the reader has an idea of what to eXpect from the principal character; when he finally ap- pears, however, the reader's anticipations must be tem- rwred slightly, for Don Juan does not completely fill the foreshadowed mold that Bretén has cast. A final comment regarding the personality of Don Juan is that throughout the three acts of the zarzuela there is no character change whatsoever. The work com. mences by implying that Don Juan is a weak—willed, in- sipid, lackadaisical character; Don Juan enters and he fulfills the prediction about his personality; and, sur- prisingly so, the zarzuela ends with his maintaining the original impression. In revealing the past of Don Juan, Bret6n de los Ierreros employs the dramatic element of surprise. His past affair with Flora remains a secret almost throughout the entire work, and it is not disclosed until the final scene of Act III. This secret is foreshadowed subtly by a side comment of Don Juan (II.v); in the entire zarzuela, however, this is the only hint of the possibility of its existence. As Bretén de los Herreros has shown himself in other plays to be skillful in the developing of his female char- aoters, the same can be said for the zarzuela, gggag‘gg Qgg‘ggap. His creation of the Marquesa Laura and of her servant Marta is perhaps better than that of the so-called protagonist , Don Juan. The personality of these two char- 27 aacters is developed principally through their own actions Etnd.lines. The Marquesa undergoes a slow change in her czharacter make—up; at the beginning, she appears as the Purely gullible, naive type. However, as the work prog- resses, there appears a definite change in her simplicity, :3<) that at the end, when the true nature of Don Juan is revealed, the impact of this revelation is not as acute 215; it could have been before the change. On the other hand, the character Marta offers the (Drxposite impression. Credulity does not plague her. The <>Illy'change in this character that occurs in the work is the increase in her suspiciousness. Among the minor characters are Flora, Ambrosio, Vi- cente, and Luis. Flora, the Italian singer, makes her fIlrst appearance at the beginning of the second Act. The 1lJIIInediate impression she creates is nothing outstanding. :[1t is not until the final few scenes that she takes on Hunky personality whatsoever, that is, when she recognizes :D<>n.Juan to be the one who deceived her. Ambrosio enters 'tkle work merely as a simpleton and serves as a source of c‘Omedy by interjecting in his speech Latin words and :Dtlrases. Vicente is the companion of Don Juan; he does rhbt attain, however, the stature of a Catalinén, Camacho, "I Ciutti. He lacks the necessary zest for life and self- Dreservation that his three literary ancestors demonstrate. The fourth minor character, Luis the rival of Don Juan, g1Ves the impression, at the beginning of the zarzuela, of 28 being a shy, reticent individual; but as the work develops, 1113 shyness is converted into a more overtly active parti- cipation. Of the three-century tradition that preceded the “'riting of this zarzuela, there really is not one work that stands out as the direct source of inspiration for Bretén de los Herreros. From his immediate ancestor Zo- rrilla, Breton took nothing of importance, except pos- ESifbly the name of Luis as a rival of Don Juan. One could also say, however, that the name comes from Zamora instead, Since he introduced a similar character in his play. From T1 rso de Molina, Bretén delos Herreros may have borrowed t‘V‘oinsignificant incidents. The burlador of the seventeenth; CEtntury master was adept at making evasive oaths such as the to llowing one: Juro a esta mano, sefiora, Infierno de nieve fria, De cumplirte la palabra.1.2 Instead of making a direct oath, Don Juan swears to the 118111d of Aminta that he will fulfill his promise. The only Sirnilarity existing between this passage and the one in Cl‘lestion from the zarzuela of Breton is the mere fondling 01' a hand, the employing of a metaphor to qualify it, and the dramatic situation that inspires its use. The Don Juan or the zarzuela states it in this fashion: 12‘l‘irso de Molina, Obras dramaticas completes, II (Madrid, 1962), 670. 29 Junto a esta mano es escoria la mantequilla de Soria. (I.ix) In the zarzuela Don Juan uses this as flattery in an at- tempt to make advances at the Marquesa Laura, whereas IPirso's hero eXploits his promise to burlar Aminta. I ‘dlo not wish to imply the possibility of a direct influ- ence in this case, but merely to suggest that in Breto’n's Work the passage calls to mind the scene from El burlador $14; Sevilla. A second minor similarity existing between these two dramatic productions is the mere fact that the Italian (ilxchess Isabela, in Tirso's play, comes to Spain in search 01‘ her deceiver and to receive justice from the king. In firetdn's zarzuela the Italian singer Flora, having been dleceived by Don Juan, also comes to the peninsula in ESearch of some consolatory reward. The intrinsic value of this work by Bret6n--actually c>fmere bibliographical worth--is that its author has the 1lonor of being the first to attempt an adaptation.of the I)0n.Juan theme to the popular dramatic form of the g9;- \zuela. Secondly, he has tried to attribute a new inter- IJretation to the Don Juan personality and legend. As a first in its field, however, the work has suffered from ilts attempts at innovation. Later, the theme will be Selected again by other zarzuelistas. When Bret6n de los Herreros staged his zarzuela Sites g2 92;; 933.3, Madrid had no theater dedicated on- 3O tirely to the production of this new genre. Two years later, in 1856, construction was begun on such an edi- fice, and the result was El Teatro de la Zarzuela, sit- uated in the Calle de Jovellanos, one of the streets radiating from the Plaza de las Cortes. Cotarelo y Mori has described in great detail the construction of the building, the masterminds behind the movement, and the physical layout of the theater.13 The first Don Juan zarzuela produced in this theater--93; Tenorio moderno, by José Maria Nogués--opened on the night of June 11, 1864. The zarzuela is in one act and in verse with mu- Sic composed by Enrique Broca and Ignacio Agustin Campo. Nogue's was familiar with the techniques of this new dramatic form, for he had successfully presented in Madrid four other zarzuelas before attempting his En Tenorio pg- c1erno.14 \ The work follows in the tradition of the zarzuela of Manuel Bret6n de los Herreros in that Nogués disregards almost entirely the traditional, the established interpre- 17ation of the Don Juan theme. Its author makes the pro- 1Fagonist a nineteenth-century contemporary, a lawyer who w(irks from his central office in Seville. In this zarzuela there are four characters: Don Juan, 13Cotarelo y Mori, chap. XV. 14rGenaro _e_l gpndolero, 3 acts in verse; Estafeta $3 11133;, 1 act in_ prose; _A_____rmas _i_._gt_1_a_l_e_s_, 1 act in verse; figs 1. niciales 1 act in verse. 31 .Dofia Inés, Lucia, and a Faustino who enters the work for two lines. Dofia Inés, a young widow not quite twenty- 'three, is plagued by the humdrum existence of daily life :In Madrid. Being thrown into a fit of ill-humor by a rather placid letter from one of her suitors, Dona Inés Inurls a vase of flowers out the window. The vase lands c>n Don Juan, who happens to be passing by, and it ruins 1118 hat. Enraged by this display of barbaric Madrid life, Ixe goes up to demand vociferously some compensation for 1118 crushed hat, and he stays long enough to declare his love for her. Dofia Inés, however, does not prove to be Eun.easy conquest, and she temporarily ignores his feelings to tease him. Highly annoyed by this tomfoolery, Don Juan IDIesents Lucia, the servant of Inés, with his calling card, 13rovides her with some remuneration in hopes she will in- 1bercede for his cause, and rushes out, supposedly, in Ssearch of death. The calling card reveals Don Juan to be an lawyer who had helped Inés win a case against a certain I)iego Maqueda in Seville.‘ Now the situation becomes re- ‘rersed. Don Juan returns unexpectedly; and Dofia Inés is Ilot only very grateful, but extremely impassioned. Don (Yuan, taking command of the situation, commences to mock i1nd.tease her. Realizing that they are equally matched, they declare a truce, and a priest is to be summoned. Nogués attempts to follow, to a certain degree, the tradition of Zorrilla; that is to say, he tries to present a-modern, romantic image of Don Juan. In fact, this zar- 32 zuela has been called a parody of the Don Juan Tenorio.” The Don Juan of Nogués, as has been the case with the other one thus far studied, is prone to prevarication. This aspect is evident immediately upon his initial con- ‘trersation with Lucia (I.iii); his use of this distortion Of truth, however, is not for impression, as was the case with the Don Juan of Bretdn de los Herreros, but for a tool of exaggeration employed for the belittling of oth- ers. This facet of his make-up does not extend through- out the zarzuela, for he soon tempers it, and he remains on the plane of reality. Another ingredient of his make-up can be found in his ability to love. Although similar in this respect to the Don Juan of Zorrilla, he differs in that his love is not a love for the ideal, nor for a deified and exalted love, but rather for the human level. In fact such an interpretation seems more valid for the zarzuela, because this dramatic form primarily dedicates itself to the pre- sentation of realism; whereas, on the other hand, drama and opera are more prone to represent the fantastic, the romantic, and the Neoclassic. Another element which relates this Don Juan creation of Nogués to the traditional interpretation of the person- ality can be found near the end of the zarzuela in a scene 1 SMartin Nozick, "Some parodies of Don Juan Tenqrig," Buspania, 211111 (1950), 106. 33 ‘with Lucia, the servant of Doha Inés (I.vii). In this scene, which parodies a similar one in Zorrilla's play (II.xi), Don Juan employs his material wealth for the zadvancement of his sensual gain. Also in regard to the personality of Don Juan, one 1?inds that upon his first appearance in the work, he 1bransmits a feeling of being a hyper-emotional, compul- ESive individual. And it is precisely this feeling that Clominates the stage and action for an entire scene (I.iii); that is to say, he remains in his primary forceful state ‘Unntil Doha Inés enters and causes a.complete reversal in the aggressive spirit of Don Juan (I.iv). This descent Ifirom the highly emotional to the calm, subservient at- 1hitude of the protagonist endures throughout the remainder <>f the zarzuela. A final trait related, to a certain extent, to this Cluality of subservience is the fact that this Don Juan cIces not manifest in a salient manner the traditional el- 6ment of being a burlador. As stated above, he first en- ‘iers the work with a compulsive drive of aggressiveness. Iie then reverses completely this forceful attitude be- ‘3ause he becomes stricken with awe at the sight of Doha Ine’s: (Con seda su talle ajusta: su busto es algo incitante: es apuesta y elegante: pisa bien: no me disgusta.) (I.iv) This first impression of pleasing, that the appearance of 34 Doha Inés creates in him, does not carry with it the ex- pected “desire to conquer," but rather it is the unex- pected "love at first sight." Doha Inés realizes imme- diately the abrupt change and surges ahead to assume con- trol of circumstances. As was pointed out in the brief synopsis of the plot, she exploits the situation by ridiculing Don Juan and mocking his affections. Conse- quently, the traditional image of the deceiver is destroyed, and the result is the emergence not of a new burlador, but rather of a Don Juan burlado. Don Juan has finally met his equal of the opposite sex. In developing the character of the protagonist, the author Nogués has employed only one principal technique; he allows Don Juan to characterize himself by means of his actions and the thoughts expressed in his dialogue. The major negative criticism found with regard to the manner in which Don Juan is cast lies basically in the abrupt change that takes place in his attitude and personality between the time he makes his entrance and the moment that Doha Ines appears. It is quite possible that this criticism is not a valid one simply because of the extreme briefness of this zarzuela. With regard to the other characters, Nogués seems to have had a detailed plan from which to work, for both Lucia and Doha Inés are very well drawn. The author depicts Lu- Cfa as the faithful puppy-dog type, loyal to the master, hilt Whose attention, with a minimum amount of difficulty, 35 can be attracted with an inviting bone. The Doha Inés of this work had her origin in the char- acter with the same name in Zorrilla's play, where she ap- pears as the personification of ideal love, pure innocence, and "la hija de Eva antes de salir del Paral’so."16 With the zarzuelista the image of Inés undergoes change and in- novation, for in fig Tenorio moderno she appears as a dis- sipated, young widow who bears the cross of boredom because of daily routine. To escape this malignant tedium, she be- comes a gilettante of masculine feelings, one who dabbles in the emotions of the male. Even the Don Juan of this work senses this novel element in the character of Inés, for as he soliloquizes in parody: Quisiera ver a mi homdnimo en estos lances metido: no fue el siglo diez y seis como el siglo en que vivimos: en este habra Ineses, pero de Ulloa no las he visto. (I.vi) In is precisely this new interpretation of Inés that gives some value to the zarzuela. In the preparation of this zarzuela, José Maria Nogués drew his inspiration principally from one work. Neither Tirso's play nor the drama of Zamora contributed anything of prime importance to the construction of this new inter- Pretation of the Don Juan theme by Nogués; on the other hand, the Don Juan Tenorio of Zorrilla suggested several 16José Zorrilla, "Recuerdos del tiempo viejo," Obras 22%. II (Valladolid, 1943), 1802. "" 36 elements to this zarzuelista. In the first place, the most evident contribution can be found in the names cho- sen for the characters; obviously, the name of the pro- tagonist cannot be attributed to Zorrilla, but Doha Inés and.1nofa, at least in name, are descended directly from the 1844 play. The difference in personality has been discussed above. Secondly, one sees Zorrilla's influence in the molding of the make-up of the protagonist, prin- cipally in Don Juan's ability to subordinate his carnal desires to become emotionally enamoured with Inés. I have previously distinguished between the two distinct types of love characterized by the Don Juan of Zorrilla and the protagonist of the zarzuela. Finally, a more di- rect influence between the two works can be seen in the use of certain verses and phrases characteristic of the play of Zorrilla. For example, from the famous Scene iii of Act IV, the "escena del sofa," Nogués has chosen spe- cific verses and images to include in his zarzuela. The popular phrase from Zorrilla no es verdad. . . que estan respirando amor (IV.iii) Incomes in the zarzuela of Nogués: sf todo, Inés, a tu lado esta respirando amor! (I.v) Also the metaphoric image "Gacela mia," used by Zorrilla Within the same scene, is employed by Nogués in a similar Manner. Likewise, part of the response of Inés in Zorri- 11a ' 8 play, 37 . . .me habéis dado a beber un filtro. . . , (IV.iii) is used by Nogués in the same scene as a part of Don Juan's complaint: La magia de tu hermosura como un filtro se introduce en mi Pecho. . . (I.v) And finally, Act I, Scene vii, in which Don Juan materi- ally influences Lucfa to intercede for him with Inés, is directly inspired by Act II, Scene xi, of Zorrilla's play. In fact, Nogués ends the scene in precisely the same mane ner and with the same words that Zorrilla employed twenty years earlier: Juan: Adids, pues, franca Lucia Lucia: Adiés, pues, rico don Juan. (I.vii) The innovations on the Don Juan theme introduced by Rogues in his zarzuela constitute primarily, as mentioned earlier, the worth of the work. In the first place, this author has removed Don Juan from the past, from the sixteenth-century setting, and has placed him in modern dress, and in contemporary Madrid. Nogués has tried to instill in his creation the ability to react to modern life and the problems arising from it, expecially the more freedom given to women. And it is out of this problem.that the second innovation emerges. The role attributed by the author to Doha Inés--her energetic spirit, her efforts to free herself from boredom, and her ability to convert the aburlador to a burlado--gives the leading lady of this zar..r 38 Egglg a personality which is novel in design and purpose. Inthe history of Spanish artistic expression, it has usually been the case that most art innovation has been born in Madrid, experimented with in the same capital, and later circulated throughout the provinces. Such was ex- actly the order of events in the deve10pment of the Egg— Egglg, and such was precisely the manner in which the Don Juan theme, as expressed in the zarzuela, spread. Eleven years after the Madrid presentation of Ea Tenorio moderno, Rafael del Castillo picked up the theme, examined the new pecularities carved into it, and molded to his test the zarzuela, El congldado gg,piedra. This work, with music supplied by the Catalan composer Nicolas Manent, was pre4 sented with satisfactory success in the Circo Barcelonés on the night of 30 October 1875. In contrast to the novel Don Juan zarzuelas of Bre- ton and Nogués, Rafael del Castillo prefers to incorpo- rate the traditional image of the Don Juan personality in his production. On the initial page of the first edition of this zarzuela, Castillo follows the title with this comment: "zarzuela arreglada sobre el drama del mismo titulo."17 One of the problems involved in studying this particu- lar work is to try to determine to which specific play, ”Rafael del Castillo, El convidado d__e_ pi_e__dr_a_ (Bar- celona, 1875), p. . Subsequent references to this za__r_. mala will be taken from this edition. 39 if indeed any, entitle El convidado g; piedra Castillo refers. Of course this name appears in the subtitle of Tirso's and Zamora's plays. In fact, some critics, for 18 . example Cotarelo y Mori, toste,20 have employed this title to refer to El burla- Alonso Cortés,19 and Pica- ggl‘gg Sevilla and to E2 hay plazo. . . . The action of El convldado g2 piedra occurs during the opening years of the sixteenth century with a plot (quite similar to the combined Don Juan plays of Zamora and Zorrilla. Don Juan has returned to Seville after an absence of several years. He meets with friends to re- late to them his past amorous experiences, but their discussion is interrupted by Diego, father of Don Juan, who verbally reprimands him for his lascivious actions. He then informs his son that Gonzalo has cancelled the engagement between Don Juan and Ana. Before seeing Ana, Don Juan first stops to sere- nade Beatriz, but his visit is disrupted by a group of noisy students with whom he has an encounter. He then attends the wedding of his goddaughter La Salada; and, under the pretense of wanting to advise her, Don Juan manages to remove her from the wedding party and attempts 18Emilio Cotarelo y Mori, Tirso de Molina: investi- gaciones bio-bibliograficas (Madrid, T893), p. 179. 19Narciso Alonso Cortés, Zorrilla: §g vida.y sus £13.33 (Valladolid, 1943), p. 324. 11320Felipe Picatoste, Don Juan Tenorio (Madrid, 1883), 1’0 3- 40 to seduce her, but his efforts are in vain. In the second act Don Juan and Camacho persuade La Dueha, a go-between, to provide the former an entrance into the house of Ana. La Dueha then prepares her for the arrival of Don Juan, who enters and in a duet with Ana proclaims his intense love for her. Being inter- rupted by Gonzalo and Luis, Don Juan humbly confesses his love for Ana and pleads with Gonzalo to authorize their marriage. Angered by the mocking of Luis and Gon- zalo, Don Juan, bemoaning the mistreatment of destiny, kills them. Act III opens in a cemetery where Don Juan and Ca- macho have taken refuge. Ana and Beatriz appear in a vision to request that Don Juan repent. To demonstrate to Camacho that he has no fear of the dead, Don Juan in- vites the statue of Gonzalo to dinner. The following evening the specter of Gonzalo answers the invitation only to extend a similar one. The dinner scene becomes transformed into the pantheon where Gonzalo is to pro- nounce Don Juan condemnation to Hell. At the last min- ute, Don Juan repents, expresses a belief in a divine Power, and is saved by the intercession of Ana and Bea- triz. To assemble the personality of Don Juan, Rafael del CaStillo has drawn from two sources: Zamora and Zorrilla. ZEHnorafls contribution appears when Don Juan attempts the seduction of La Salada (1.x). Although the protagonist 41 begins this scene with suaveness, reminiscent of the ro- mantic Don Juan, he soon resorts to brute force to attempt the conquest of his goddaughter. This ruffian attitude is directly inherited from his eighteenth-century ancestor. Inspired by the creation of Zorrilla, the Don Juan of Castillo demonstrates a similarly forceful, outgoing personality of impulsion. He manifests a like disdain for his fellow man when his self-imposed superiority is ques- tioned. When there exists among the other characters a feeling of awe and elevation directed toward Don Juan, this contemptuousness remains temporarily dormant, but only to awakened by the slightest stimulus of doubt. Related to the same basic egocentric drive of superiority is the impulsion-ridden impatience of the protagonist. All action and dialogue must have as their nucleus the figure of Don Juan. If the center of activity detracts from the importance of this personality, a defensive reaction is initiated by the punctured ego which manifests itself first through a mild display of intolerance, and then through a stronger exhibition of contempt and disdain. Hyperbole and prevarication enter into the portrayal of this protagonist as it does with the Don Juan of the Other literary works. The distinction that becomes ap- Parent between this zarzuela and the play of Zorrilla is truat these two qualities are not as salient in the Don Juan of Castillo as they are in Zorrilla's Don Juan. Like- ’71 $6, the ostentatious manifestation of independent wealth 42 appears in the creation of Castillo, although to a les— ser degree than in the play of Zorrilla. And finally, to increase the already contradictory nature of Don Juan, Castillo, like Zorrilla, incorporates an element of humility into the personality of the char- acter. This forceful personage, who has violated social and religious law and who has defied both God and man, has his dominatingsxdrit tempered and reduced to a humble state through the ideal love of a pure woman. With regard to the other characters, the majority of which are very well drawn, Castillo has borrowed again from the two masters already mentioned. Doha Ana de Ulloa in the zarzuela fills the role of Ana in the play of Za- mora and the Inés of Zorrilla. She continues to repre- sent pure innocence, the unattainable, and the means for salvation. Beatriz is taken directly from Zamora; in the work of Castillo, however, she does not enter into so intimate a relationship with Don Juan as that portrayed by Zamora. She is the representation of ultrahuman beau- ty which also enters into Castillo's concept of ideal love and.the redemption of Don Juan. Don Gonzalo de Ulloa is featured in the zarzuela in basically the same manner as in the two plays. Unlike Gonzalo, the role of Don Diego Tenorio differs slightly. lhafael del Castillo reduces Diego from his role of prom- inence in liq hay plazo. . ., and he tempers the abrupt- ness and compulsion attributed to the character by José 43 Zorrilla. The companion of Don Juan, Camacho, receives his name from the gracioso of Zamora. On the other hand, he resembles Ciutti, his prototype in Zorrilla's work, in that he represents the faithful lackey who unquestion- ingly protects the figure of his master from temporal and eternal dangers. The character of La Dueha is a definite, direct in- fluence of the Don Juan Tenorlg of Zorrilla, in particular, from the personage of Brigida.. The principal difference between the two is that the creation of Castillo lacks the primitive finesse in which Brigida excels. And finally, Dan Luis de Fresneda represents the combining of charac- ters from the plays of Castillo's two predecessors. The name belongs in the work of Zamdra. Also, as in Eg’Egy plazo. . ., he is the brother of Beatriz and questions in a similar fashion her actions when he feels that the fam- ily honor has been marred. Zorrilla's influence can be seen,for example, in the last scene of Act II where this character assumes an attitude and a verbal demonstration quite similar to the Luis Mejia of the Zorrilla play. Sources of influence from Spanish authors seem, in Castillo's case, to be limited to two principal ones. Tirso de-Molina supplied no direct inspiration for the zarzuelista. A certain degree of parallelism can be rOund between the work of Castillo and Zamora's play, eSpecially in the action of several scenes. In the first place, the encounter between Don Juan 44 and the students is chiefly derived from Zamora. To sub- stantiatefithis parallel, moreover, Don Luis, as in Zamora's work, comes to the aid of the Don Juan of Castillo. The - principal difference is that Castillo directs the students, and not Don Juan, to flee. This is due, more than likely, to the fact that Castillo bases the personality of his protagonist on that of Zorrilla's instead of on the weak- willed bully of Zamora. Another scene inspired by this latter author is the one in which Luis reprimands his sis- ter Beatriz for bringing assumed dishonor to their family. A final similarity between the two works is the fact that Castillo, like Zamora, places his Doha Ana de Ulloa at home, instead of in the convent as Zorrilla did with his Doha Inés de Ulloa. From the play of Zorrilla the influence on Castillo is more direct, more detailed, and more extensive. The principal similarity between these two works appears in the expression of ideas, the selection of words, and the poetic image. Examples of Zorrilla's influence can be seen without any difficulty in the following passages in which Don Juan discusses his technique of conquering: De la mujer, los placeres, solo duran un instante; se la persigue, hasta hablarla, se la obliga, hasta vencerla, basta una hora de quererla, para después olvidarla. (I.ii) Hewever, the Don Juan of Zorrilla demonstrates more pre- 45 cision and calculation in his system: Partid los dias del aho . entre las que ahi encontrais. Uno para enamorarlas, otro para conseguirlas, otro para abandonarlas, dos para sustituirlas y una hora para olvidarlas. (I.xii) Similarity of image, word usage, and idea become combined in the following selections of which the first is from Castillo and the second from Zorrilla: Y suelta la rienda, asalto desde la misera estancia. hasta el palacio mas alto. (I.ii) Yo a las cabahas bajé yo a los palacios subi. (I.xii) In this example the word and image fuse to eXpress the thought that their amorous darings have run the gamut of the social scale. The idea and feeling of intolerance on the part of the Don Juan of Castillo can be seen in these lines: Si continfian mas tiempo yo te prometo que salgo y pongo fin a la fiesta. (I.v) This feeling also finds its cognate in the famous open- ing lines of Zorrilla: (Cual gritan esos malditos! (Pero mal rayo me parta si en concluyendo la carta no pagan caros sus gritos! (1.1) HBre the analogous element lies in the expression of an 1deaon the part of Don Juan and the similar use of this 46 expression by the authors to aid in the characterization of the figure. The famous "escena del sofa" of the Dnn Juan lenorlg also finds place in the zarzuela. In Castillo's work it is a duet. Although the versification differs, the po- etic deve10pment of the scene seems analogous. The met- aphorical usage of "angel de amor" (C.: II.viii; Z.: IV.iii) is the same in the two passages. The expression of the change in Don Juan caused by the personification of pure innocence appears also in like fashion (C.: II.viii; Z.: IV.iii); and of course Doha Ana's statement of her inability to resist the feelings created in her by Don Juan, emerges in a relatively similar manner as that of Doha Inés: Triste de mi, no puedo a sus palabras iay! resistir (C.: II.viii) ICallad, por Dios, oh Don Juanl, que no podré resistir mucho tiempo, sin morir, tan nunca sentido afan. (2.: IV.iii) In the scene in which Don Juan humbly confesses to Don Gonzalo and asks to marry his daughter, the Don Juan of Castillo states: La virtud de vuestra hija fue la luz que me alumbr6, y su amor es mi esperanza, y*mi vida esta en su amor. (II.xi) And the protagonist of Zorrilla comments: 47 lo que adoro es la virtud don Gonzalo, en Doha Inés. Lo que justicias ni obispos no pudieron de mi hacer con carceles y sermones, lo pudo su candidez. Su amor meatorna en otro hombre regenerando mi ser. (IV.ix) Both authors employ the same elements of virtud and amor as the key factors in Don Juan's plea. The combined forces of the two components create the reformation in Don Juan and serve as the cause of his love for her. And as we already know, the supplications of Don Juan prove to be in vain; his humility, being mocked, becomes anger and defiance, and the result is the death of Gonzalo and Luis. As Don Juan makes his exit, Castillo, following the tradition of Zorrilla, allows the protagonist to ex- claim: Al cielo en mi quebranto llam6 mi coraz6n, y pues mi voz no escucha, no soy culpable yo. (II.xi) In comparing these lines with the orighnl ones of Zorrilla, one can readily see the direct influence: Idamé a1 cielo y no me oy6, y pues sus puertas me cierra, de mis pasos en la tierra responda el cielo, y no yo. (IV.x) This influence appears not only in the selection of words, but also in the Titanesque aspirations of Don Juan to sub- ordinate and diminish the authority of fate. Further similarity between the two texts can be found in the pantheon scene (C.: 111.11; Z.: 2.I.iii) where Don 48 Juan in a soliloquy ponders the beauty of the night and the vanity of his past experiences. Various analogies are present in both passages. In the first place, both selections are written in octosyllabic verses. Secondly, the setting is the same: the pantheon built by Diego Te- norio for the victims of Don Juan and the protagonist's solitary situation in the stillness of the night. The soledad of the night and of the cemetery creates an eerie, but restful, feeling for Don Juan, and contrasts with his many nights wasted in ephemeral adventures. In addition to the repetition of the setting and of the Egg. lgggg, Castillo chooses a similar manner to describe the pensamientos that certain recuerdos arouse in Don Juan. A final similarity appearing near the last scene in both works is the request for Don Juan to repent and the actual words of his repentance. Castillo has the request come from Ana and Beatriz: Un instante arrepentido puede darte salvaci6n. (lII.ii) On the other hand, Don Gonzalo in the work of Zorrilla states: . . . . . . . ’.Don Juan, un punto de contricion da a un alma la salvaci6n. (2.III.ii) Castillo phrases the statement in a more direct fashion While Zorrilla commences in a less specific manner and then reduces it to the individual level. 49 It is at this point, with the repentance and salva- tion of Don Juan, that Castillo introduces a new feature in his work. In the play E2 hay plazo. . ., Zamora came to no concrete conclusions about the saving of Don Juan; but the author suggested the possibility of eternal re- demption. Zorrilla directly states the modern doctrinal interpretation that a moment of sincere contrition can blot out a lifetime of sinning. He further insures the salvation of Don Juan with the intercessions of Inés and the apotheosis of ideal love which stems primarily from pure innocence. Castillo picks up these two factors--the theological intent and the innocence of Inés--and injects a third element into the personage of Beatriz: ideal beauty. Castillo has subdivided the deification of love into two ineffable ideals of which Ana and Beatriz are representative; the first, unblemished innocence, and the second, flawless beauty. The value of El convldado g2 piedra of Castillo is threefold. In the first place” this author stands out as being the first to adapt successfully the traditional image of Don Juan to the zarzuela. Second, his including Beatriz, or ideal beauty, in the concept of Don Juan's salvation stands as a contribution to the development of the theme. Third, his zarzuela came to excercise an in- fluence on the composing of Zorrilla's own zarzuela, the 2.92 Egan Tenorio. This aspect will be commented upon in a later chapter. 50 Castillo, following the traditional approach to the Don Juan theme, presented his zarzuela in 1875. Two years later in Madrid, Juan de Alba introduced his Egg. mocedades g2 Don Juan Tenorlg in the Sal6n de Eslava, a small theater which had become a fairly popular center for the productions of this rapidly developing genre. This two-act work in verse, with music by A. Rubio and C. Espino, was received "con grande aplauso"21 the night of 31 October 1877. Alba combines the two developmental currents of this theme, that is, he indirectly patterns his zarzuela after the traditional image of Don Juan, but yet, on the other hand, he also includes a wealth of in- novations not only in the personality of the protagonist, but also in the plot. The action of Alba's work occurs during the "reinado del rey don Carlos I de Espaha,"22 that is, during the first half of the sixteenth century. To be more exact, the plot development takes place the year previous to the action of Zorrilla's Don Juan Tenoglg. In Act I, Luis Megia (sic) appears in "una taberna" and in an indignant manner begins to insult the workers and villanos. The quarrel rises to such a point that Luis challenges them to a duel, at which time Don Juan 21Juan de Alba, Las mocedades de Don Juan Tenoglg (Madrid, 1877), p. 1. All further quotations from this zarzuela will be drawn from.this edition. 51 enters and quells the heated situation. This action on the part of Don Juan is taken as a direct, personal in- sult to Don Luis, and the two arrange a private duel in the cemetery. The rest of the act deals with the amorous intrigues of the protagonist, who has secretly been court- ing two women, Aurora and Irene, as well as their mother Blasa. All three discover the deception simultaneously. Act II opens, and Don Juan is informed by some of his former female friends, who have been training them- selves to be arcabuceras, that neither the Inquisition nor the king's men will ever take Don Juan prisoner, be- cause they shall protect him. In the meantime, Diego, father of the protagonist, and the "Presidente de la In- quisici6n" plot against Don Juan's duel. Their farsical plans, however, are foiled by Don Juan. At the cemetery, Luis and Don Juan begin the duel, but soldiers of the Inquisition come to arrest the latter. The arcabuceras arrive to protect their "hero." Don Juan, before escap- ing to Italy, and Luis, before departing for Paris, set an appointment for the following year at which time they will determine the victor-to-be: el que haga més travesuras, valentias y locuras. (II.x) The Don Juan of this zarzuela maintains the tradi- tional burlador image as first created by Tirso de Mo- lina, but Alba further develops it. He causes his pro- taHonist to correspond to this prototype not only through 52 seduction and deception, but also through his striking de- meanor and his eloquence. Blasa comments very casually in the work that Don Juan "a muchas fascina" (I.iii). That they are "fascinated" equally as much by his suave appear- ance as by his persuasive eloquence is demonstrated in this example: Al mirar tu hermosura pierdo el sentido. Aunque gavilan sangriento fue Tenorio con mujeres, no asi contigo, porque eres del acero suyo iman; mi alma acerada atrayendo siempre vas, gacela mia! (I.vii) The irregularity in the syllable count of this selection is due to the fact that this passage has been set to music. As has been constantly pointed out in the discussion of the other Don Juans, this creation of Alba also mani- fests frequently his dependence on wealth as part of his integral make—up. In one scene he has just handed over "una bolsa," an act to which he refers as follows: 51 hace falta mas, pedidme; rico soy. . . (11.11) This is merely another aspect in which Alba's Don Juan car- ries out the popular, traditional eXpression of the person- ality. As in the Tirso-Zamora-Zorrilla interpretation of Don Juan, the one of Juan de Alba.manifests the usual defiant 'SPirit. This can be seen in Act II where Don Juan and litis are in the cemetery. The plot, arranged by Diego and 53 the Presidente to frighten Don Juan, consists simply of having some servants dress as funereal statues. As Don Juan and Luis are about to begin their duel, these "stat- ues" begin to move and flutter in the breeze. Luis fears their movements; but Don Juan, without realizing the farce, attempts to chase them off as if they were "real" specters. The important point is that he does not waver in the face of worldly or supernatural dangers. Indirectly related to this aspect of defiance is the impression that Don Juan transmits throughout the entire work. This appears in his attitudes and in his conduct, as well as in the reaction of the people to him. This element is the hero-image that radiates as a halo from his corporeal being. For example, immediately after the opening scene of the zarzuela in which Don Luis has of- fended the pride of the villanos and has begun to rile them, Don Juan enters and exclaims: Juan: (Quién se mueva, morira! Todos: Don Juan, es 61; atras, atras. (I.ii) His immediate presence evokes an awe—filled reverence from the crowd. This hero-image, although in reality a one-sided impression, is reciprocated, to a certain ex- tent, by Don Juan. That is to say, Don Juan helps ex- tract this feeling from the populace by manifesting a degree of respect for them. To demonstrate this action (on the part of Don Juan, one can refer to a later pas- Sage within the same scene where the protagonist has 54 disarmed Luis and has turned over the latter's sword to the crowd: Luis: AQué hacéis? iMatadme primero! iMi acero asi deshonrado! Juan: Mentis, que el pueblo os ha honrado admitiendo vuestro acero; el pueblo no le ha pedido! Su honra es pura como el sol. (1.11) The recognition of honor existing among the populacho stands as an innovation on the part of the Don Juan of Alba. Previous to this time, only the nobility, in the eyes of Don Juan, could possess a feeling of honor. This admission augments the hero-worshipping attitude of the pe0ple, for they stand in.amazement at the combined de- fiance and humility of Don Juan. A final aspect of the novel make-up of this Don Juan can be related to a factor present in the majority of the previous ones; and this element is the religious nature of the protagonist. The Spanish Don Juan is not an athe- ist, nor an agnostic, but rather a lax Spanish catholic. The leitmotiv of the Burlador of Tirso, "tan largo me lo fiais," is not a doubting nor a questioning of religious doctrine, but rather a universal attitude of man and his futile refusal to give up his youth. The religious com- ponent is present in the personality of Alba's Don Juan: Luis: No as moféis de lo cristiano. Juan: Soy mas cristiano que vos, y las doctrines de Dios aunque loco, no profano; mas sabed, por vida mia, 55 que odio la superstici6n; que una cosa es reli i6n, y otra cosa hipocres a! (1.11) This passage, in expressing Don Juan's belief in a God and in some divine law, opens up a new avenue in the make- up of this principal character. The protagonist of Juan de Alba is a being of reason and examination. He is not the atheistic reasoner that Moliere created, but rather a person who believes in the existence of a divine power, and who questions man's interpretation of this supernat- ural being. In the above passage, Don Juan makes refer- ence to superstici6n and hipocresia. These two elements are directly opposed, according to him, to a simple, natural belief in a Christian God and supernatural law. Don Juan, as well as the author, takes this oppor- tunity to criticize Spain's use of the Inquisition. In fact, this attack on the Holy Tribunal appears in the work as a secondary theme. The protagonist's departing works in the final scene are: 3 volveré en tiempos mejores, a veneer inquisidores y a quemar la inquisici6n. (II. xiii) Don Juan, therefore, is not the symbol of libertinism, deception, nor defiance, but rather he becomes in the zarzuela a figurehead for the pueblo's attack against the Inquisition: Pueblo: (dentro) Arriba, viva Don Juan, y muera la inquisici6n1 (II. xii) Combining the present image with the one described above, 56 Don Juan becomes the hero of liberty and the symbol of popular rebellion against this Spanish religious-political office. In addition to this innovational aspect of Don Juan, the author has included several other ideas which are nov- el to the Don Juan personality. Don Juan takes a synthetical viewpoint in his com- ments that a nation consists of both nobility and ylllg- Egg, and that the one cannot manage successfully with- out the other. Perfect harmony should exist between the two groups, for a nation without the two would be "un yermo" (1.11). Related to this Don Juan comments on the noble qualities of the work that the villanos perform as opposed to the ignoble attitude the aristocracy shows to the workers. Birth does not constitute the basis for pure nobility: porque hay noble, noble y noble infernal. (1.11) In stating this, Don Juan sets himself up, figuratively and literally, as the "champion of the underdog:" Sehor don Luis, siempre he sido protector del desvalido. (I.ii) Interestingly enough, the author introduces another criticism in the zarzuela, via Don Juan. Mention has al- ready been made of his harsh comments against the Inquisi- tion: Juan: Le (the tribunal) respeta Carlos V porque es un rey aleman. 57 Luis: Don Juan, irespetad sus leyes! Juan: Eb no respeto los fueros de monarcas extranjeros, gracias, que acate a otros reyes. (1.11) This disdain for foreign monarchs has appeared so frequent- ly throughout Spanish history that it has become an inte- gral part of the Spaniard's list of likes and dislikes. As far as I can determine, this is the first time that this protest has been verbally eXpressed by a Spanish—created Don Juan. Two passages, worthy of being quoted here, relate to the reader a summary of Don Juan's self-analyzed beliefs and attitudes: . .Que soy, se dice, muy malo, y esto es notorio: oy por que es malo Tenorio? oQué hay en 61 que escandalice? oA quién maltrata? Al traidor. 6A quién respeta? Al anciano. 6A quién premia? Al hombre humano. 6Qué es lo que ensalza? El honor. éQué enamoro a muchas bellas? En eso no he delinquido; yo soy muy agradecido, recuerdo que naci de ellas; sin ellas, ed6nde hay placer? A ellas el amor nos lleva, y por fin, Dios hizo a Eva, y 61 sabe lo que ha de hacer. (1.11) Verdad que yo quiero a todas porque soy mozo sin freno, que va cruzando jardines atr0pellando frenético las flores mas perfumadas que de placer me sirvieron. No tengo mal coraz6n; y conozco mis defectos! Soy mariposa que vuela de flor en flor placentero; mas no me pero en ninguna sino muy cortos momentos. (11.11) 58 From these two selections one senses that for this Don Juan, placer is the highest good. His attraction towards the female sex is a universal trait; this concept, however, differs from the burlador of Tirso. The seventeenth-century creation of Tirso considers the ppllg and the numerical value of the deception as the important point; in addition to these, the protagonist of Alba includes the satisfaction of his desires for pleasure as the principal motive. His concept of woman and her role in life is an interesting, poetically phrased observation. His being the "champion of the underprivileged" has already been pointed out. The element of respect as it appears in this Don Juan's state- ment is usually mentioned also in discussing Tirso's Don Juan. - In developing the character of Don Juan, the zarzue- llglp Juan de Alba allows the personality of the protag- onist to be conveyed to the reader by means of his own actions and thoughts, as well as through the other char- acters' image of him. With regard to the ideas expressed by the protagonist, the author, in general, fails to have these thoughts appear to come directly from Don Juan be- cause Alba uses this principal character as a mouthpiece to voice his own complaints and opinions. He attempts to mask this technique by creating the hero-image of Don Juan. The only minor characters included in this work who have been taken from Don Juan tradition are Chiuti (glg), Ihego Tenorio, and Luis Megia (sic). The zarzuelista 59 becomes somewhat radical in developing the character of Don Juan's companion, for he has Chiuti defy the fiduciary bonds of-a master-servant relationship by making him in- form Diego, in advance, of Don Juan's secret adventures. Diego is similar to the Diego of Tirso, in that he attempts to intervene, for the benefit of his son, with the king. Luis Megia is the same braggart, vociferous type as the Luis Mejia of Zorrilla. The other minor Characters in the zarzuela are all new creations of the imagination of the author. None of them stands out in an exceptionally stronggmanner. Of the traditional Don Juan trilogy, Juan de Alba depends mainly on Zorrilla for inspiration, and really, the influence of the Romantic poet is rather a minor one. In the first place, the year wager between Don Juan and Luis Mejia in Zorrilla's play stands as having been the initial suggestion for-Alba's composing the plot of the zarzuela. The "escena del sofa" of Zorrilla's Epp lpgp Tenorio has a cognate scene in the zarzuela (I.vii). The only direct, motivating influence in this case is the idea. There appear no metaphorical similarities, nor analogous imagery, for Alba has depended on his own poetic imagination to produce a scene rich in sound, image, rhyme, rhythm, and color. And finally, Alba bor— rowed Zorrilla's idea of Don Juan's salvation by woman. In the zarzuela the protagonist is defended and allowed to escape by a group of arcabuceras. Zorrilla's Inés ‘— 60 aids in Don Juan's spiritual redemption; Alba's women - assist in the temporal saving of Don Juan. In some respects this zarzuela falls short in its purpose and in verisimilitude. Juan de Alba has failed to give sufficient life to Don Juan. This failure causes the criticism of certain political and religious concepts to appear to come directly from the author instead.of from the protagonist who voices them. Although the ac- tion of the zarzuela is supposed to take place during the reign of Charles I, the author merely has modern wom- en pronounce the lines of his sixteenth-century charac- ters; that is, Alba has failed to give his female per- sonages the appropriate sixteenth-century social attitudes and position. On the other hand, this parzuellsta has in- troduced some innovations into the Don Juan theme. The protagonist has several self-attributed noble qualities as demonstrated in the two longer passages quoted. Second, this character has the vital gift of critical reasoning. Third, the author causes Don Juan to emerge as a popular symbol against the Inquisition. And finally, related to the symbolic nature of the protagonist there is the hero- image transmitted by Don Juan. CHAPTER II THE DON JUAN TENORlQ, ZARZUELA OF ZORRILLA Culminating the deve10pment of the Don Juan zarzuelas of the nineteenth century is the Don Juan Tenorlp, zar- zuela, of José Zorrilla. This work was presented on the night of 31 October 1877, in the Teatro de la Zar- zuela in Madrid. The statement that Zorrilla wrote a zarzuela version of his Tenorio suggests the following question: Why would an author attempt a revision of one of his works which had met with immediate success and whose popularity had become widespread on both sides of the ocean? After Zorrilla had composed his play Don Juan Teno- rio in 1844, he sold the work to his editor-publisher Manuel Delgado under the following conditions: Creo en favor de don Manuel Delgado la propriedad absoluta, y para siempre, del drama original en siete actos y en verso, titulado Don Juan Tenorio, por la canti- dad de 4.200 reales vellon, que recibo en este acto, a fin de que, como cosa du- ya privativa, puede disponer de dicho drama libremente para su impresi6n y re- presentaci6n en todos los teatros, excep- tuandose unicamente los de esta corte. --Madr1d, 18 de Marzo de 1844. Zorrilla,for the mere sum of 4,200 reales,sold the play and almost all its rights to Delgado. The sale was made ten days before the first performance of the play on 1Quoted in Narciso Alonso Cortés, Zorrilla: pg vida 2 Egg obras (Valladolid, 1943), p. 329. 62 28 March 1844, in the Teatro de la Cruz of Madrid. The work was immediately received with satisfactory applause, and the name of the author became overnight a synonym for Don Juan Tenorio. The theatrical reviews for the following few days varied in tone and in treat— ment of the subject. Some of the comments were that Zo- rrilla's work placed him without any doubt whatsoever on the level of greatness attained by Lope, Corneille, and Byron; while others mentioned casually that the play was of adequate worth.2 One theatrical critic of the day con- cluded his article with this statement: Al concluir la representaci6n, a pesar de lo avanzado de la hora, e1 publico permaneci6 aplaudiendo y aclamando al autor largo tiempo en el teatro, hasta que el sehor Zorrilla se present6 en3 la escena a recibir nuevos aplausos. This was the reaction at the estreno; ironically, however, it was not long before José Zorrilla denounced vocifer- ously the worth of his play Don Juan Tenorio. At first this denouncement was verbal, and it can be interpreted unquestionably as an expression of "sour grapes" since the numerous presentations of the play throughout almost entire Spain brought no material remuneration to Zorrilla. Over the years this attitude was converted into an extreme- 1y cynical disgust. 200mments of contemporary critics can be found in the cited work of Alonso Cortés, pp. 330-334. 3El Corresponsal (Madrid, 31 de marzo de 1844), p. 8. 63 Five years after the writing of the Don Juan Tengllg, Zorrilla announced the publication of his Egllg, corona poética gg lg Virgen. In a prologue to the book, he in- directly attempts to repel any fame attributed him by the pueblo. He attacks severely any writer who might attempt to follow his tradition or who might try to establish a 4 Zorrillan literary school or movement. This prologue in reality is a strong effort to shed subtly any renown that may have come to Zorrilla from his Tenorio. This attempt, however, is later contradicted when Zorrilla in his Recuerdos del tiempo viejo comments quite frankly as follows: Don Juan Tenorio, que produce miles de duros y seis dias de diversi6n anual en toda ESpaha y las Am6ricas espaholas, no me produce a mi un solo real; pero me produce m6s que a ningun actor, em- presario, librero o espectador; porque la aparici6n anual de mi D. Juan sobre la escena, constituye a su autor su f6- nix que renace todos los ahos. Egg Juan no me deja ni envejecer ni morir; Don Juan me centuplica anualmente la popula- ridad y el cariho que por 61 me tiene el pueblo espahol; por 61 soy el poeta m6s conocido hasta en los pueblos m6s peque- hos de Espaha y por 61 8610 no puedo mo- rir en la miseria n1 en el olvido; mi drama Don Juan Tenorio es a1 mismo tiem- po m1 titulo de nobleza y mi patente de pobre de solemnidad; cuando ya no pueda absolutamente trabajar y tenga que pedir limosna, mi Don Juan har6 de mi un Beli- sario de la poesia; y podr6 sin deshonra decir a la puerta de los teatros; "dad vuestro 6bolo al autor de Egg Juan Teno- 4Prologue to "Maria, corona p06tica de la Virgen, " Obras completes I, 1002. 64 rio ", porque no pasar6 delante de mi un aespagol que no nos conozca o a mi 0 In fact, not only is this a frank confession of Zorrilla, but it also smacks of the self-confidence and glorifica- tion of the Don Juan personality. The author has begun to identify himself with his literary creation. His former makeshift attitude of disgust for fame has become converted into a definite, outward acceptance and reliance on what he originally rejected. Several years after the debut of the play Egg Eggg Tenorio, Zorrilla entered into a period of extensive cor- respondence with Manuel Delgado and his successors, the legal owners of the rights to the play. This correspond- ence, which was carried on for a period of at least ten 6 years, has been collected by Alonso Cortés. In these letters one can see the gradual development of Zorrilla's desire to refundir his Don Juan play and eventually to f announce the presentation of his zarzuela, also entitled Egg Juan TenorLg. In many of these letters, Zorrilla emphasized the deficiencies of his play and the fact that he, as legit- imate author, had the right to revise the original work in order to produce one of better esthetic balance and 5Zorrilla, "Recuerdos del tiempo viejo," Obras com- 21222. 11,1803-1804. 6Alonso Cortés, pp. 1115-1157. 65 appeal. On 6 July 1868 he wrote to Delgado: El Tenorio esta plagado de disparates; no puede pasar 1a acci6n de 1a 1a par- te en el tiempo que pasa; no esta justi- ficado la intervanci6n de la divinidad y necesita un pr6logo fantastica- religioso, que justifique y prepare la fantasia de la 28’ parte. Yo estoy en mi derecho refundiendg porque la ley me da el de refundici6n; pero ya tengo cincuenta afios, y creo que estas refundiciones necesarias deben ser hechas con anuencia de la casa edi- torial7que posee la propriedad de las obras. Zorrilla tried to appear forceful in his demands, but he failed. In a los letter of the following year, Zorrilla must have mentioned to Delgado that the refundici6n was com- pleted, for the publisher asked to see a copy of it. Upon Delgado's request to read the revised work, Zorrilla, who had been trying for at least four years to convince the editor of the right to refundir the play, refused to send a copy under the pretense that he had no time to correct it. Thus it appears that the announcement of the refundi- ci6n was a subterfuge: Respecto de la copia que usted me pide de la refundici6n del D. Juan, no tengo ningun inconveniente en que usted la lea, pero no puedo ahora corregirla y copiarla, porque ademas de haberme teni- do que salir de Barcelona, para cuidar de la salud de mi mujer, estoy metido en un legendario del Cid en el que fundo mis esperanzas para levantar mi reputa— ci6n, y hasta que no lo deje bien adelan- tado para que no se me vaya, no pienso 7Alonso Cortes, p. 1115. 66 poner la mano en nada. . . . . . .En el 1er Don Juan se empefia e1 autor en hacer temblar al publico; en el segundo se esmera en hacerle reir; no con groserfas cancanfsticas, sino con situaciones. . . .No tengo tiempo para mas, ni tengo prisa en hablar del convidado de8 piedra: hasta octubre tenemos tiempo. It is my theory that at the time Zorrilla wrote this let- ter, 26 January 1870, he had not even prepared the second Don Juan, or at least the second version we know in the form of the zarzuela. In the first place, he had been thinking of a refundici6n and insisting on one for several years prior to this time. Second, he states he had no time to copy it; he could,however, have easily allowed a copyist to perform this menial task as he did with other works.9 Third, he says that through the use of comic sit- uations the second Don Juan will create laughter among the audience. He can not be referring to the 223 Juan Tenorio, zarzuela, for these so-called situaciones do not exist in the refundici6n. Fourth, in the final statament quoted, he comments that there is no rush for "hasta octu- bre tenemos tiempo." Or in other words, if Delgado agrees to allow the revision and to help produce it, Zorrilla will have sufficient time, nine months, to compose it. Here he relies on his great facility for writing, for if it re- quired only twenty-one days to compose his first Don Juan 8Alonso Cortés, pp. 1123-24, letter of January, 1870. 9Ibid., p. 1132, 1144, letters of 26 March.1870 and 22 December 1 70. 67 10 surely he could revise the work without much Tenorio, difficulty within, if not less time, definitely within an equal amount of time. Any finally, if one can assume that this refundici6n is the zarzuela we know, one can say that Zorrilla, in this letter is merely offering a series of excuses for not showing the revised Qgg_ggag to Delgado. My position on this matter is strongly supported by a let- ter written later that same year; Zorrilla tells his pub- lisher: El Sr. Salas11 quiere convencerme de que escriba una zarzuela originalé a mi se resiste el genero. . . . Zorrilla, who has attempted previously to manifest a de- manding attitude to Delgado, the rightful owner of the Tenorio, has employed deception and subterfuge to con- vince the publisher of the need and right for revising the Don Juan play. In this letter quoted above, however, Zo- rrilla admits he prefers not to write a zarzuela, for he does not consider himself at ease in working with this genre. Further to contradict matters, seven years later he was to produce finally the refundiciég of the work, and to present it in the form of a zarzuela. If one can ac- cept the above assumptions, it would be safe to say that 10"Recuerdos del tiemPo V1930," p. 1799' 11Jacinto de Salas y Quiroga, a Romantic lyric poet and also the director of the §g_mg olvides. 12Alonso Cortés, p. 1141, letter of 8 October 1870. Italics mine. 68 in 1870 Zorrilla had not even begun to prepare the revised Don Juan Tenorio. In the series of letters collected by Alonso Cortés, no correspondence appears between the years 1870 and 1877. Whether the letters were lost or whether none were written during that period cannot be determined at this time. When the correspondence--which has been preserved-- was resumed, an interesting item concerning the problem of the refundici6n appeared in a letter written in February, 1877. Zorrilla still insisted on preparing the revised Don Juan. In this letter he again criticized in a vitriolic manner his original Tenorio. Moreover, he adds a new idea to the revising of the play: A'la entrada de invierno publicaré ilustrada una leyenda de los Tenorios que consta de 5. 000 versos: esta le- yenda es la preparaci6n de la refun— dici6n, o mejor dicho de un Dnn Juan nuevo. Esta no es cuesti6n de dinero para mi, ni de animosidad contra mis editores, que estan en su derecho, si n6 (sic) de honra. . . .He aquf lo que hay sobre el Don Juan, dicho a1 amigo que me lo pregunta, pero como editor no le debe preocupar mi nuevo Don Juan; porque primero he de publicar 1a Le- yenda de los Tenorios, y ha de pasar después un ano, que necesito para pre- parar y acostumbrar a1 publico a com- prender que el viejo Don Juan es malo. En resumen: el nuevo Don Juan no mata- r6 al vie o durante mi vida: 1a poste- ridad sera quien 1e mate, si no mata a los dos, que es lo que creo; porque la posteridad no se pagara de milagros fantasticos. 13Alonso Cortés, p. 1148, letter of 1 February 1877. 69 In this letter Zorrilla writes in anticipated terms of his new project, the Leyenda d2 los Tenorios.14 Here the cor- respondence concerning the refundici6n ceases. The 12122- g; was never completed, but it was released posthumously in 1895 by a publishing house in Barcelona.15 This in- troductory fragment contains not the "5.000 versos" men- tioned in the letter, but approximately 6,800 lines which deal with the genealogy of the Tenorio family. The impor- tance of this leyenda is that, as he says, it is "la pre- paraci6n de la refundici6n." Even though Zorrilla did not complete this legend, there are certain elements within this fragment which assist in the understanding of the D22 Juan Tenorig, zarzuela. For this reason, it would worth- while to make some comments about the leyenda in prepara- tion for the study of the zarzuela itself. In the opening passages to the Leyenda Q2.222.l§§£ Tenorio, Zorrilla attempts to provide the reader with the necessary, though at times extraneous, facts for the back- ground of time and space. He begins by describing the situation of Spain during the reign of Enrique IV, some- times known as "el Impotente." He speaks of the tumult, corruption, and intrigues within the kingdom. The second division within this fragment is a poetic analysis of the 14The correct title of this work when finally released was La leyenda g2 Don Juan Tenorio. 15§a lezenda g2 Don Juan Tenorio (fragmento). Ilus- tracion de J. L. Pellicer, (Barcelona, 1905). 70 history, temperament, and religious personality of Seville, which for the author stands as a paradoxical polyglot: Hija del fuego infernal y de la luz del Eden, es capaz de todo bien 16 y propicia a todo mal. The poetic study of Seville is undertaken by Zorrilla be- cause the action of this narrative poem takes place within the limits of this Andalusian city. The discussion of the attributes of Seville fulfills the spacial need of the le- xgnga, but as for the temporal element, Zorrilla has the principal action occur on the'noche de San Juan." To lim- it the action to this particular festival serves two pur- poses: it gives cause for the festive spirit of the first part of the work, and it permits Zorrilla to provide the reader with a discussion of the peculiar customs and mean- ing of the feast day. After an approximate two hundred fifty line poetic discourse on the uniqueness of this festival, Zorrilla then begins the actual plot of the leyenda with a detailed physical and esthetic discussinn of the protagonist Beatriz. Since Zorrilla did not complete the legend, and since in the first fragment he does not mention Don Juan, one can only speculate about the relationship between the per- sonages he mentions and the Don Juan Tenorio of the dramat- 10 work. Five characters figure in the development of the 16"La leyenda de Don Juan Tenorio," Leyendas (Madrid, 1957): p° 1502' 71 leyenda: Beatriz, daughter of Luis Mejia and the wife of Don Gil Tenorio who is in Sicily; César, Luis, and Guillén, the brother of Don Gil; and Diego, the son of Don Gil and of an unnamed woman. We know for a fact that Don Juan is some descendant of this Diego, for as one of the brothers in the legend states: Los tres, en fin, siendo célibes, aunque aun a viejos no van, ifiifiafindfifiogiifidiffimas Since the three brothers had remained unmarried, it was Diego's duty to produce an heir to carry on the family name. It might be safe to conjecture that Don Juan Teno- rio is the son of this Diego. The legend deals with the rivalry between the Ulloas and the Tenorios, the alleged dishonor brought to the Te- norio family by Beatriz, and the attempts of César Tenorio to eradicate this blemish and avenge the death of his brother Don Gil. From this lgyenda Zorrilla draws certain points and mentions them in the zarzuela. These are the age-old rivalry existing between the Tenorios and the Ulloas,18 the inheritance mandate forbidding the sale of the Tenorio 19 estate, the incompatibility of the Tenorios and the cler- 17"La leyenda. . .," p. 1582. 181b1d., p. 1533. 19113111., p. 1571. 72 gy,20 and the conflict between the Tenorios and the Mejias.21 Further mention of these points will be made near the end of the discussion of the Don Juan Tenorio, zarzuela. Zorrilla stated in his letter of 1 February 1877, quoted above, that he would publish the leyenda "a la en- trada de invierno" of the same year, and that he would al- low a year to pass to permit the public to become accustomed to the new image of Don Juan before attempting to have the refundici6n staged. As we know, the legend was never fin- ished and the fragment published only posthumously. As for the refundici6n, Zorrilla did not wait out the allotted year, for he presented it on 31 October 1877, and he pub- lished it shortly thereafter.22 At the end of the printed zarzuela Zorrilla supposed- ly attached some notes directed to the empresarios and, in addition, a series of explanations for having subjected Don Juan Tenorio to a change from the character of the drama to this new adaptation.23 According to these explanations Zo- rrilla offers two principal reasons for making the change to the zarzuela even though, as was pointed out earlier, he 20”La leyenda. . .," p. 1587. 21Ib1d., p. 1653. 22Jos6 Zorrilla Don Juan Tenorio, zarzuela, ed. Alon- so Gullon (Madrid, 1877). 23These notas and eXplanations do not appear in the two copies of the first edition I have handled, nor do they appear with the manuscript on file at the Biblioteca Nacio- nal in Madrid. Narciso Alonso Cortés has included them in his edition of the Obras completas of Zorrilla. 73 stated that the composition of a zarzuela would resist his efforts. The first of these reasons is that the dramatic form of the zarzuela was at that time in Spain approaching its peak in performance and popularity and, according to Zorrilla, there was no Don Juan capable of filling the vac— uum in this popular genre.24 Second, although the drama Don Juan Tenorio had originally dethroned the play by Za- mora from its yearly performances, there had been "ya mas de dos veces anunciado y representado en Espafia y en las Américas espafiolas“25 Zamora's work in preference to Zori- lla's Don Juan. This is due, he says, primarily to the fact that the Don Juan Tenorig_is not a work of art, but rather a composition void of order and full of foolishness. Therefore, "yo me creo con mejor derecho que nadie para ti- rar la primera piedra."26 Nevertheless, in spite of the lengthy explanations offered by Zorrilla, there was really one reason for the zarzuela's being written; and that is, in agreement with Alonso Cortés, the fact that "disgustabale, y era muy justo, que una obra con la cual se enriquecfan los editiores y los empresarios de Espaha y América, no produ- «27 jera al autor ni una peseta; or in other words, pure fi- nancial jealousy. 24José Zorrilla, "Notes to Don Juan Tenorio, Zarzuela," QE£§§ completas, II, 1721. '_"' 25Ib1d. 26lbid. 27Alonso Cortes, p. 775. 74 As we know, and as was commented on above, Zorrilla wanted to wait until at least 1878 to present the refundi- gién. In fact, if we can believe what he states in these explanatory notes, he had contracted the composer Manuel Fernandez Caballero to collaborate with him during the following year in the composing of a Don Juan zarzuela. Due to circumstances, however, Zorrilla decided to present the work a year early, or in 1877. These "circumstances" can be interpreted in two ways. First, they can refer to the two reasons for composition stated above. Second, the "circumstances" could very easily be that Zorrilla was un- able to finish the leyenda as he had planned, as well as the fact that the same director persuaded him to write the zarzuela. If the latter is true, the persuasion on the part of the director would be for competitive reasons, since the Sal6n de Eslava was to present a Don Juan gag- zuela on 31 October 1877.28 But be that as it may, Zo— rrilla admits:"convertf mi drama en zarzuela en los cator- ce dias que me daba (the director of the Teatro de la Zar- zuela); viéndome obligado a encajar mi palabra en el molde de la musica, y resultando, no una zarzuela nueva o refun- dida como yo habfa propuesto, sino, como la exigfan el tiempo, las circunstancias, y la empresa, un Don Juan con- 28 I refer here to Las mocedades fig Don Juan Tenorig. of Juan de Alba. 75 tra Qgg,ggag.“29 Or to interpret this bluntly and liberally, Zorrilla wrote this zarzuela not out of the desire to improve his original Don Juan, as he had stated so verbosely through- out his correspondence with Delgado, but rather as a sponta- neous, competitive, financial endeavor. The Don Juan Tenorio, zarzuela is similar in plot struc- ture to Zorrilla's original Don Juan play. It is a work in three acts and seven cuadros, with music by the Catalan com- poser Nicolas Manent. The principal characters of the gag- ggglg are: Don Juan Tenorio, Don Luis Mejia, Dofia Inés de Ulloa, Dona Ana de Pantoja, Jacarilla, Brigida, Don Gonzalo de Ulloa, Don Diego Tenorio, and Ciutti. In the work Zorrilla shows that man, although a ruf- fian and libertine, pushed through life by his romantic, impulsive drives and defiance of God and his fellow man, can be reduced to a state of subservience and humility by spiritual love. In addition, from a Catholic theological point of view, man has the opportunity to blot a lifetime of sinning and gain eternal salvation through a moment's professing of sincere contrition. - Act I opens in the garden of the house of the Tenorios. The scene is enhanced by the festive spirit of carnival time. A chorus announces the imminent arrival of Don Juan 29Zorrilla, Notes. . ., p. 1721. (This "222 Juan con- tra Qgg Juan" can be understood in a dual manner: either Zorrilla's zarzuela versus his drama, or Zorrilla's zarzue- lg versus Alba's zarzuela.) 76 and Luis Mejia and the possible conflict between them. Don Juan has finished writing a letter, he seals it and directs Ciutti to deliver it to Doha Inés. Gonzalo and Diego enter and discuss Don Juanp-Diego, from a mournful father's point of view; and Gonzalo, from a more cold and calculating per- spective. A chorus of students announce the hour for the culmination of the yearfs wager; they entreat Jacarilla to sing something in tune with the evening's agenda. Luis and Don Juan enter and identify themselves to each other while the divided group of nobles and students cheer them on. Don Juan dismisses himself to speak with Jacarilla, a for- mer conquest who has remained faithful in her love for him. Luis and Juan then discuss their deeds of the previous year, but they are interrupted by Gonzalo and Diego who reproach Don Juan for his insolence and lasciviousness. The scene shifts to the street before the house of Dona Ana de Pantoja where Don Juan discusses with Ciutti their plans for the evening which include Juan‘s attempt to conquer Ana and his visit to the conventual-cell of Dona Inés de Ulloa. Then begin his efforts to gain entrance in- to the house of Ana by bribing her servant Lucia. They are interrupted by Luis, who has come to warn Ana of Don Juan. The act ends with an.encounter between Luis's followers and those of Don Juan. As Luis is being taken away, Juan opens the door to enter Ana's house, and the curtain falls. The setting for Act II is the cell of In6s who in her indecisive manner comments on the loneliness of the convent. 77 Brfgida enters and speaks to her of the good qualities of Don Juan. She then insists that Inés read the letter that accompanied the Book of Hours Don Juan had sent her. Upon concluding the love note, Inés becomes frightened by the sudden appearance of Don Juan, and she faints. The scene is transferred to the apartment of Don Juan, where Ciutti talks with a group of students about his mas- ter. Dona Inés, who was transported to the apartment while unconscious, awakens and insists that she and Brfgida escape; Don Juan, however, enters and proceeds to proclaim his love for Inés, who confesses that she cannot resist him. This "escena del sofa" is interrupted by a visit from Luis Mejia and Don Gonzalo, both wishing to reclaim their honor. At first, Don Juan speaks with them in a.meek and humble man- ner. Angered by their demands and their mocking, he kills them. As he leaves the stage, Don Juan bemoans the mis- treatment of destiny. The third Act opens in the cemetery built by Diego Tenorio for the victims of his son Don Juan. The protag- onist, in a soliloquy, contemplates the vanity of his past experiences and laments the death of Inés and the loss of his love for her. Inés, or rather the statue of Inés ap— pears to urge Don Juan to repent of his past and to eXpress a belief in God. Ciutti enters and questions Don Juan's sanity when the latter says he has been conversing with lnés. To rid Ciutti of any doubts he may have concerning Don Juan's valor, he invites the statue of Don Gonzalo to 78 supper. The action of the sixth cuadro in the third Act takes place in the home of Don Juan, where he has invited his for- mer student friends to dinner. The specter of Gonzalo comes in, and while the other guests are in a swoon, he warns Don Juan of his imminent death, for the latter, Gonzalo says, has but one hour to live. As the statue of Gonzalo leaves, the ghost of Inés appears to reiterate her desire for the repentance of Don Juan. The setting for the final cuadro returns to the pantheon where Don Juan eXpresses his belief in God and repents of his wanton past. Inés makes an ap- pearance to proclaim the salvation of Don Juan and their spiritual marriage. Although, as we have learned, the Don Juan Tenorio, zarzuela, was not the eXpected refundici6n of Zorrilla's Don Juan, the author did revise, to a certain extent, the personality of the protagonist. The principal innovation in the character is that Don Juan is no longer a barroom hero of documented stories. Unlike the Don Juan of Zorri- lla's play who ennumerates each conquest, each burla, and each murder, the protagonist of the zarzuela declares to Luis Mejia that their list of deeds for the previous year should not be read in public: Juan: Porque lo que en cierta fecha y en epoca de capricho fuera cuenta muy bien hecha, hoy la cuenta es mas estrecha y es mal hecho y mal dicho. Porque nuestros dos relatos son dos tejidos de absurdos 79 que nos dan por mentecatos, asombro de’pelagatos y admiracion de palurdos, y siendo mozos capaces de hazanas de loa eterna, epor que parecer procaces dos rufianes lenguaruces barateros de taberna? Luis: Creo que tenéis raz6n: personas Como nosotros, . no deben mas que en accion mostrarse; no en relacion para entretener a otros. (I.1.vi) Even at this early stage in the development of plot and character, one begins to sense Don Juan's realization of the vanity of his ephemeral adventures. Luis supports his belief that a man of their self-imposed stature must demonstrate himself through action and not extensive brag- ging. The adventures and encounters of the previous year, according to the protagonist, belong to the past, for in themselves, the misdeeds are historical facts whose action attests their own worth. To repeat these constantly would be no more than a mere attempt to regurgitate the past, instead of living for the day. Moreover, this attitude of being a man of action aug- ments the spirit of defiance and fearlessness of this Don Juan. He directs his bold feeling on two planes: que a mi no hay bicho viviente que en esta vida me espante. De la otra no creo nada: con que no hay lugar sagrado ni hombre inmune para m1. (I.1.ii) He fears nothing of this world nor of the other, for as 80 far as he is concerned, the latter does not exist. Or at least the other world does not openly exist for Don Juan, although he eventually manifests a belief in it. In line with the Don Juan tradition--both in the dra- ma and in the zarzuela--the protagonist of this work mani- fests an analogous trait which can be seen in the follow- ing passages: Doce meses has perdido: mas mereces las primicias de mi largueza rumbosa. Ten. (La ofrece un bolsillo.) (I.1.vi) Y si acierto a robar tan gran tesoro, te he de hacer pesar en oro. (I.2.iv) Lucia: Y quién abre este castillo? Juan: Este bolsillo. (I.2.vi) aQue te amedrenta, si a tus ojos se presenta mgy £132 don Juan Tenorio? These passages quoted plus some minor ones demonstrate an element of the Don Juan personality that has been mentioned in the discussion of virtually all the Don Juan dramatic works: the necessary reliance on independent wealth. At these stages in the development of this personality, Don Juan believes that financial reward and remuneration can serve as a means for satisfying his every whim and fancy; that is, through the eXploitation of wealth, his desires may be quenched, maidenheads may be purchased, and entrance 81 to every door may be gained. Like his literary ancestor Tirso de Molina, Zorrilla instills in his Don Juan of the zarzuela a sense of equal- ity in the "loving" of women. The burlador of Tirso ran the gamut of the social scale in his conquests--from a duchess to a fishmonger. The same is true for Zorrilla's creation, for, from his objective point of view, all wom- en, be they of noble or humble origin, are equal. For Don Juan this "objectivity" is the basis for the statis- tical or numerical value of women. Only when he becomes subjectively involved--as in the case with Inés--does this numerical quality and concept of equality cease to exist. Don Juan maintains a dual standard with regard to women; the burlador facet of this personality cate- gorically considers women as "assembly-line" products void of any individualized characteristics, and he looks upon a woman as a specific automated representation of the female sex. 0n the other hand, the Romantic facet of this literary creation reverses his previous mathe- matical ideas when he becomes amorously entangled with the earthly personification of the ideal of feminine pa- rity and virtue. Also one finds in the portrayal of this personality a certain degree of firmness of conviction and an unwill- ingness to compromise. In the first Act after his father has voiced the complaints about his actions, Don Juan retorts: 82 que como vivi6 hasta aqui vivira siempre don Juan. (I.1.vi) The oil-coated reasoning of Don Juan has completely re- pelled the watery reprimanding of Don Diego Tenorio. The resolute beliefs and actions of the protagonist cannot be softened, at least, by his father's arguments. This attitude also appears in Act II, Cuadro 4, Scene vii, where Don Juan comes face to face with an irate and supposedly dishonored Luis Mejia. Luis complains about Don Juan's having conquered Dona Ana de Pantoja. Don Juan insists that he was in his right since that was what the wager entailed. Don Juan's convictions have been ques- tioned by Luis; however, in spite of the forceful demands and threats of his rival, Don Juan refuses to back down. He has taken his stand and will continue to remain firm in his beliefs. This is a facet which Zorrilla emphasizes in his treatment of the new Don Juan. An aspect of this personality has a semi-contradictory counterpart; this is the selfmconfidence of the protagonist counteracted by his social consciousness. A manifestation of Don Juan's belief in his superaimposing power can be observed in7the scene in which the protagonist and Ciutti attempt to attract the attention of Lucia, servant of Dona Ana.. Don Juan states: Si en la reja esta lo demas es cuenta mia. (I.2.v) This feeling of confidence appears as a manifestation of 83 the element of Titanism prevalent in the concept of Don Juanism. But then, on the other hand, this same forceful personality demonstrates a concern for social approval and acceptance: Muchas hice hasta esta hora; mas por Dios, que la de ahora sera tal que me acredite. (I.2.v) Don Juan's being socially conscious and being concerned about his reputation seems to be a cause of his previously stated self-confidence. This sense of self-reliance that Don Juan demonstrates is created by his innate desire to maintain a public image of boldness, rashness, and daring. Actually, these two characteristics are very closely re- lated; they work on a basis similar to a stimulus-response principle. The desire to create a unique Titanesque im- pression--the stimulus--trips the mechanism that releases the aspired self-sufficient feeling—-the response. Related to this attitude of Don Juan is his reaction to the implication that he has fear: Ciutti: . . . . . . . . . los bravos piensan en Dios solo cuando tienen miedo. Juan: iMiedo yol. . . Ciutti: En este lugar. . . Juan: éQué tengo aqui que temer? o algo has podido creer que miedo me puede dar? (Ill.5.vi) Ciutti, in questioning indirectly Don Juan's intentions, has triggered the protagonist's self-defense mechanism which causes the latter's naturally indignant retort. 84 This reaction of Don Juan fits well within the previous attitude of social consciousness and impression. In the development of the Romantic portion of this Don Juan, the protagonist has his brazenness and his im- pulsion-ridden defiance softened and converted into hum- ility through the love of Inés (lI.4.x). This love of the ideal not only creates the humble attitude of Don‘ Juan, but also sparks the concern for the salvation of his soul: Gonzalo: oQué puede en tu lengua haber que borre lo que tu mano escribi6 en este papel? Juan. La reparaci6n completa de tu honor ue aun no manché, y la salvacion de mi alma. Gonzalo: tY qué tengo yo que ver con tu salvaci6n, don Juan? Juan. Don Gonzalo, dofia Inés es el angel que la faz hacia Dios me hace volver. (lI.4.x) It is with this passage that a third element is added to the conceptual powers of love of the ideal: the imposi- tion of humility, the interest for eternal salvation, and, complementing this second one, the establishing of a be- lief in a divine power. The Romantic Don Juan is definitely not an atheist, but a baptized Spanish catholic, whose Con- firmation of faith emerges from a super-human type love of the ideal, and who, upon sensing the imminence of death and while in communion with the spirit of Dona Inés, asks that she, the representation of ideal love and purity, intercede for the salvation of his soul (III.5.iii). 85 With this Don Juan Tenorio, zarzuela, there appears a definite schism in the concept of this prototype. Up to the time of this zarzuela, the principal opinion of Don Juan was that of a burlador, a deceiver of women. However, even with the introduction of the figure into dramatic literature by Tirso de Molina, the rudiments of a second evaluation were latently present; this was the idealization of the physical appearance of Don Juan which effectuated an immediate discarding of the honor- sealed defense mechanism of woman and compeled the auto- matic submission of herself. This occurs in El burlador g2 Sevilla, but only in a limited manner. After Don Juan's ship wrecks near the coast of Tarragona, Catalin6n carries his master to shore. Upon Catalin6n's leaving, Tisbea, the fisherwoman, "coge en el regazo. . .a Don Juan" (I.xi). Before Don Juan regains conciousness, Tisbea exclaims: IMancebo excelente, gallardo, noble y galan! Volved en vos, caballero. (I.xii) And upon his awakening, we find the following passage: Juan: &D6nde estoy? Tisbea: Ya podéis ver: En brazos de una mujer. Mucho hablais cuando no hablais, y cuando muerto venis mucho al parecer sentia; iplega a Dios que no mintais! Pareceis caballo griego que el mar a mis pies desagua pues venis formado de agua y estais prenado de fuego. Y si mojado abrasais, estando enjuto, aqué haréis? 86 Mucho fuego prometéis iplega a Dios que no mintais! (I. xii) This is the same Tisbea who in a previous scene prided her- self on her ability to repel the arrows of love. Even be- fore Don Juan recovers his senses and overtly attempts to burlar Tisbea, she comments on his physical charm and the sensual powers radiating from his inert body. Her remarks are not mere objective observations, but rather an open plea for his embraces. Although appearing in a lesser de- gree, this is the second phase of the dual concept of Don Juan Tenorio: the openness on the part of the woman, her placing him on a pedestal and prostrating herself at his feet, and the almost frank desire and willingness to sub- mit herself freely. This interpretation prevails in the Romantic Don Juan of the zarzuela. The same concept of Don Juan appears also in the play by Zorrilla with the character Dona Inés de Ulloa. The following two passages demonstrate this phenomenon: No s6; desde que le vi, Brigida mia, y su nombre me dijiste, tengo a ese hombre siempre delante de mi. Por doquiera me distraigo con su agradable recuerdo, y si un instante 1e pierdo, en su recuerdo recaigo. No 36 que fascinaci6n en mis sentidos ejerce, que siempre hacia 61 se me tuerce la mente y el coraz6n; y aqui, y en el oratorio, y en todas partes, advierto que el pensamiento divierto con la imagen de Tenorio. (lII.iii) 8? Callad, por Dios, ioh don Juani, que no podr6 resistir mucho tiempo, sin morir, tan nunca sentido afan. iAh! Callad, por compasi6n; que oy6ndoos, me parece que mi cerebro enloquece y se arde mi coraz6n. Y qu6 he de hacer, iay de mil, sino caer en vuestros brazos 1Don Juan; iDon Juan! Yo lo imploro de tu hidalga compasi6n: o arrancame el coraz6n, o 6mame, porque te adoro. (IV.iii) In the first selection Dona In6s speaks of the effect caused by merely having glanced at Don Juan. At this point in the play, he has never spoken to her nor seen her. From the second passage, we receive the full impact of the face-to- face encounter of the two characters. With this selection one can see the effect of Don Juan's presence and the forth- right demands of Dona Inés. Don Juan here needs to exert no force, no deceptive promises, nor persuasive elocution because Dofia Inés, realizing the futility of attempting to combat her feelings, surrenders herself as a sacrifice to Don Juan. In the 293 Juan Tenorio play, this new interpre- tation of the protagonist's personality is limited princi— pally to these passages quoted. Tirso chose a peasant fishmonger to assist in the developing of this second phase of the concept of Don Juan; Zorrilla selected a high-born ggga for the same purpose in his play. In composing the zarzuela, Zorrilla combined the two social extremes to magnify this unique feature. 88 In fact, it is this phase of Don Juan that excels in the Q22 Juan Tengrlg, zarzuela. The first example of one of these extremes appears in the first-act conversation be- tween Don Juan and Jacarilla: Jacar: Todo el afio te he esperado. Juan: Doce meses has perdido; mas mereces las primicias de mi largueza rumbosa. Ten. (La ofrece un bolsillo.) Jacar: c0ro? Juan: Si. Jacar: Es otra cosa lo que yo quiero en albricias. Juan: cQu6? Jacar: . Sitio en tu coraz6n; solo un rincon. Juan: Toma el oro. Jacar: No. Juan: oMe amas a6n° Jacar: iTe adoro! (I.1.vi) Although the example demonstrates a onecsided feeling, the important feature is the almost aggressive spirit of Jacarilla, who represents the female willingness to offer herself to man. Unlike Jacarilla, Dona In6s belongs to the opposite end of the social ladder. The reader's first acquaintance With the effect Don Juan exercises upon Inés comes from ‘Brfgida's comments: Era natural, la herida que la hizo la primera flecha 89 fue mortal, y hoy est6 hecha esclava vuestra, senor. Su amor es. . un volc6n que la devora, un altar en que os adora confundiéndoos ya con Dios. (1.2.111) Again, as was the same situation at this point in the Zo- rrilla play, Don Juan has only been seen by Inés; he has not had any opportunity to Speak to her nor to even look at her. The reaction of Inés, as related by Brigida, oc- curs without any external persuasion from Don Juan. Bri- gida describes Inés's feelings and attributes a meaning- ful, ritualistic aura to them; for these reactions--the elevation of man, the prostration and self-submission of woman—-are worthy of liturgical terms. The description by Inés of her own desire and her inability to resist Don Juan is quite similar to the pas- sage in the play: Cesa por Dios, que resistirte no puede ya el coraz6n. El alma se me escapa tras ti en pedazos, éQué hacer sino lanzarme ciega en tus brazos? Tu amor imploro; don Juan, 6mame o m6tame porque te adoro. (11.4. iv) .Again, here as in the play, Inés offers herself to Don Juana Persuasiveness is completely unnecessary, for “Wnnan, impressively paralyzed by the halo-enveloped ap- Pearance of man, must blindly and willingly hurl herself 90 into his arms. This concept of Don Juan-—appearing latently in Tirso, more openly in Zorrilla's play, and becoming very salient in his zarzuela--must be what P6rez de Ayala30 had in mind when he stated that this prototype most assuredly emerged from a Semitic origin and tradition. This image of Don Juan comes as a reaction to the western concept of love, renovated by the troubadours, under which man exalts woman, elevating her to a position almost cosubstantial with the divine. 0n the other hand, the Semitic--the Jewish and the Arabic--concept of love, according to P6rez de Ayala, reverses the situation by having woman deify man. Thus it is from this point of view that Zorrilla patterns his zarzuela interpretation of Don Juan. From without, that is to say, from the external reactions created, Don Juan fits well within this Semitic cnncept of love. From with- in, however, from the point of view of Don Juan's own feelings, he represents western culture especially through his idealization of In6s. In developing the character of Don Juan in the gag- zggla, Zorrilla employed two techniques basic to almost .all dramatic production. He allows the protagonist to Characterize himself principally through his actions and thoughts, in addition to having the secondary personages 30Ram6n P6rez de Ayala, Las m6scaras, 11 (Madrid, 1924), 206. 91 assist in the deve10pment. The following selections, one from each character, show this second process. Of course, each person's comment reflects to a certain degree his own interests and prejudices. In the first Scene of the zarzuela, one senses the definite division among the people over their feelings for Don Juan. Through their use of adjectives the reader learns of the forcefulness of the protagonist: Estudiantes: Aqui ha de venir y toda Sevilla ’ tiene hoy interes tan brava y extrema polémica en ver. (1.1.1) By the selection of the qualifying words brava and g;- trema, these students convey the impression of Don Juan's valor and his firmness. The Comendador Don Gonzalo de Ulloa, although shar- ing a similar opinion, states it in a derogatory fashion: . .rey de los rufianes los bravos y los matones. (I.1.iv) Don Gonzalo's view is a colored one, but it does express vividly Don Juan's defiant attitude. Although expressed from a different perspective, Jacarilla develops further the same impression: Y hombre que a Don Juan detesta es de Don Juan por envidia; porque gana cuando apuesta porque vence cuando lidia. (I.1.v) Here, through Jacarilla, the reader receives a hero-image of Don Juan. Jacarilla's impression results from her con- 92 cept of the "pure" Don Juan as discussed earlier in this chapter. Jacarilla, in the same scene offers her “ballad" of Don Juan in which she tells of his importance, his leg- endary fame, and his attractiveness. From Luis, the rival of Don Juan, comes the follow- ing comment: personas como nosotros ' no deben mas que en accion mostrarse. . . (I.1.vi) In this statement, Luis attempts to raise himself to the level of Don Juan; in spite of his intentions, however, this is also the code for Don Juan--a man of decision and action. Brigida comments: Si; pero tratar prefiero con vos: sois 2g caballero. (I.2.iv) There are two ways of interpreting her statement; it can be considered as a factual compliment or as flattery. Whichever was intended is not relevant to the develop- ment of Don Juan's image, for, without any doubt, he pos- sesses the traits of a caballero. Later Ciutti interjects: est6n los cuatro elementos a1 servicio de don Juan. (11.4.11) Of course this is stated in a figurative fashion, but, in reality, it is a picaresque attempt to enhance the legend- ary image of his master Don Juan by exaggerating the lat- ter's Titanesque powers. And finally the sculptor, after discovering the iden- 93 tity of his mysterious visitor Don Juan, comments in an aside: (. . .No quiero la piel dejar aqui entre sus manos. . . . . . . . . .) (III.5.ii) From this escultor the reader receives the impression that Don Juan is some acidic compound capable of sear- ing whomever he approaches. This secondary character attaches an image of evil to the protagonist. In summarizing the ocmmentary on the reactions of these characters, we see that Don Gonzalo and the ggggl- 19; associate Don Juan with a malevolent image of evil and violence. Unlike these personages, Brigida maintains an elevated opinion of the protagonist; she considers him a caballero. Ciutti continues the elevated vein of Bri- gida's opinion to attribute legendary status to the figure of Don Juan. Luis prefers to think of Don Juan from the point of view of an equal. And, according to him, the chief virtue of Don Juan is action. Finally, Jacarrilla, through her rose-tinted lenses, sees the protagonist as a hero, as a concentration of all that is truly gaghg, as a deity upon whose altar she would place herself as a sacrificial offering. Interestingly enough, the general consensus of these secondary figures dupli- cates, to a certain degree, and complements the image that Don Juan purposely creates of himself. The secondary characters of the zarzuela are basi- cally the same as those in the play Don Juan.Tenorig. The 94 principal diffferences between these minor characters and those of Zorrilla's play will be pointed out and discussed in the following chapter, which will consist primarily of a detailed comparison of both of Zorrilla's works. The personality of the Don Juan of the zarzuela by José Zorrilla differs from the figure depicted in the play tradition. Unlike the burlador of Tirso de Molina, the Don Juan of the zarzuela manifests no truly symbolic uni- versality. The only aspect that approaches a desired uni- versal feeling is Zorrilla's combination of western and eastern traits in Don Juan;s concept of love. Tirso's burlador directs his use of prevarication against members of the female sex. Unlike his seventeenth-century ances- tor, the Don Juan of the zarzuela has matured and no long- er considers a bgglg a prime pleasure of life. Due to the fact that three of the four burlas of Tirso's Don Juan occur under a blanket of darkness, deception, and/or mis- taken identity, a conflict arises in the concept of 29p- juanismo, or better yet, a conflict between the true Don Juan and the true burlador. In general, one can say that Tirso's play depicts the latter, while the Don Juan Teno- gig, éarzuela portrays the former--that is, the Tisbea tradition. In comparing the personality of this Don Juan with the one presented in the fig hay plazo. . . by Antonio de Zamora, one can find a minimum of similarity between the two. The Don Juan of Zamora is the ruffian, the bully, 95 and the premeditated rapist. The figure of the zarzuela really shares none of these qualities, or at least, not to any great extent. There is, however, one passage in the zarzuela that is rather questionable. A comment is made, a thought is implied, and nothing else follows to complete the idea. When the supposedly dishonored Don Luis comes to question Don Juan about having conquered Dofia Ana de Pantoja, he laments: Don Juan, yo la.amaba, si; mas con lo que habeis osado imposible la hais dejado para vos y para mi. (lI.4.vii) The questionable item is the "imposible la hais dejado/ para vos y para mi;" this can be interpreted in two dis- tinct manners. Don Luis is either saying that since Don Juan physically conquered Dofia Ana, she has remained im. possible for them in terms of hpggg; or he implies that Don Juan had employed Such forcible techniques that he has left Dona Ana physically incapable of serving either of the two any further. If the latter interpretatinn is what was intended, this would place Don Juan in the same category with the rapist of fig hay plazo. . .. It seems unlikely, however, since this action would be completely out of character for the Don Juan of the zarzuela, for this is the only suggestion of a ruffian-type aspect in the entire work. Also with regard to Zamora's play, the fear and unsureness of the fig hay plazo. . . Don Juan have been 96 completely replaced by the aspect of defiance and valor in the Don Juan Tenogggd zarzuela. The last of the play tradition is the protagonist of Zorrilla's Don Juan Tenorio. In general, the two personaliti6s created by José Zorrilla are basically similar with reSpect to portrayal, make-up, and ambi- tions. As was stated above concerning the minor char- acters of the zarzuela, a detailed comparison of these two creations will be undertaken in the following chap- ter. Chapter I of the present study dealt with four Don Juan zarzuelas of the nineteenth century; that is, the zarzuelas of Bret6n de los Herreros, José Maria Nogués, Rafael del Castillo, and Juan de Alba. The discussion of the four works was provided as background for the pre- sent chapter's comments on the zarzuela of Zorrilla. From the nineteenth-century Don Juan zarzuela tradition that preceded Zorrilla's composition, certain differences in the Don Juan personality can be pointed out. The gg§§§.dg,ggg,gggp by Bret6n de los Herreros in reality maintains no direct relationship with the 2g; Jgap Tenorio, zarzuela. The portrayal of the two creations represent two distinct extremes. The personality of Bre— t6n's work is the weak-willed, insipid trickster; he is not-even a burlador for he is incapable of attempting to aspire to such a high goal. As pointed out above, the Don Juan of Zorrilla’s zarzuela is not a burlador either; 97 this personality does, however, exercise his freedom of will, and he does manifest a definite compulsive drive as opposed to the bland protagonist of Bret6n‘s work. A certain parallel can be drawn between the Don Juan in the U2 Tenorio moderno of Nogués and that of Zorrilla. In the first place, the principal similarity is seen in the two Don Juans's emotional outbursts of Romantic im— pulsion in their relations with the other characters in each work. The primary difference in the two can be found in their concept of love. With the Don Juan of Nogués it is a more realistic love, while in Zorrilla's zarzuela, Don Juan prefers a more elevated, idealistic love of the unattainable. Also, Nogues's character undergoes a "love- at-first-sight" change; whereas, in the Don Juan Tenggig, zarzuela, woman-—Jacarilla and Inés-~surrenders herself to the glorified m. Continuing in the zarzuela tradition is El conyidado g2 piedra of Rafael del Castillo. A considerable similar-. ity can be seen between this work and the zarzuela of Zo- rrilla due to the fact that Castillo, as was shown in Chapter I, patterned his Don Juan principally after the play 22; Juan Tenorig. In the first place, one sees a similarly intolerant and impatient attitude in the Don Juans of the two zarzuelas. Related to this is their use of contempt and disdain for their fellow man. This out; going forcefulness seems quite analogous. Both of these Don Juans employ their independent wealth in be same man- 98 nor; that is, they manipulate its usage to satisfy their own self-directed sensual ends. And finally, they differ with regard to their gruff attitude. Castillo's Don Juan, if we recall, attempted first the seductinn of La Salada; but then, when his efforts failed, he resorted to brute force to try to rape his goddaughter. Assuming that the questionable passage in Zorrilla's zarzuela refers to Luis's loss of honor, and not to the violent raping of Ana, this Don Juan has no need to manifest a ruffian-like attitude, for his conquests can be made in a passive mane ner. Juan de Alba in Las mocedades d§,Dgp Juan Tenggig,31 which was first presented on the same night as Zorrilla's zarzuela, incorporates in his Don Juan several qualities common to the work of Zorrilla. Alba's Don Juan demon- strates a defiant attitude and a concern for the advan- tages of wealth, much in the same manner as Zorrilla's protagonist. An attempt to evoke a hero—image of Don Juan is present in both works; it appears more evident, however, in Alba's production. A more important point in which both zarzuelas coincide is the exposing of the donjuanista concept; that is, woman's freely rendering herself to Don Juan. The major difference is seen in the authors' use 31There is obviously no practical possibility for any definite influence between Alba's work and that of Zorrilla. The brief mention here is provided merely for comparative purposes. 99 of Don Juan. Alba employs the protagonist as a mouthpiece to attack certain social and historical institutions and to criticize the practice of placing foreign monarchs on the Spanish.throne. In writing the Don Juan Tenorio, zarzuela, Jos6 Zo- rrilla has employed a basically simple, clear style. In fact, for the most part, the work is written in a narra— tive manner. Although simplicity and clearness are char- acteristic of the work, Zorrilla has run the gamut of poetic licence in his grammatical constructions; that is to say, for rhyme, rhythm, and versificatinn goals, he has adjusted syntax to meet his own needs. Separation of verb components and dislocation of noun and modifiers are constantly employed. Fer example, he writes: y est6s de un hombre exigiendo (lI.4.x) In the first place, exigiendo must be the final word to maintain the assonant rhyme with pardiez and pig_. Sec- ond, the verb components are split to accentuate the short- long rhythm which culminates with a stress on the final 1; sound. Besides, if the normal syntax were followed as in "y de un hombre est6s exigiendo," the octosyllabic count would be disrupted because an extra syllable would be added. In a passage such as the following, one can notice the need for the diSplacement of the adjective in the final line: Y estaba en verdad tan tierna, que entrambas a su lectura 100 achacamos 1a tortura que sentiamos interna. (lI.4.iii) In this redondilla, the separation of tortura and interna becomes necessary to fulfill the abba rhyme pattern that this poetic form requires. Excluding the scenes set to music, the dominant verse forms are the eight-syllable lines which constitute pedondillas, romances, and d6cimas. There really appears no definite use of the various verse patterns as was cus- tomary in Golden Age drama; Zorrilla employs them merely at random. In his use of imagery, the author has limited the number of similes to four in the entire work. Three of them relate to nature, and the fourth, to the supernatural. Two are found in Brigida's description of Inés: ir6 como una cordera (I.2.iv) (hermosa) como un 6ngel (I.2.iv) The first of these two is employed by Brigida to convey the sense of the subservience of Inés to Don Juan. She also suggests the concept of Don Juanism. In the second phrase, Brigida compares In6s's beauty to the supernatural to add, as required by the romantics, the necessary divine aura to the feminine ideal. The third simile comes from Inés's own description of her reaction to Don Juan: Yo voy a ti como va sorbido a1 mar ese rio. (lI.4.iv) 101 Here In6s speaks of her being drawn to Don Juan, unable to withstand his magnetic attractions. The image that this simile evokes is a strong one in that In6s speaks not of being merely attracted to Don Juan, for she employs the verb sorber which implies that she is absorbed by him. In the cognate scene of the play, Zorrilla used the same sim- ile to describe the emotions of In6s. The final simile appears in the scene in which lnés, in the form of a spec- ter, has presented herself to Don Juan; and as she disap- pears through the wall, Don Juan proclaims: . . .Su esencia se trueca el muro hasta penetrar cual mancha de agua que seca el ardor canicular. (III.6.iv) The image created by this passage is certainly a delicate one, overflowing with feeling. In the first part, the poet does not use a somatic noun to describe her, such as estatua, for it would be too limiting. He merely sug- gests her being by referring to her essence, that is her essence which is absorbed by the wall. He confronts her effervescence with the tangibility of the partition--the antithesis. In the second part, a similar phenomenon is present--the interplay of the intangible "ardor canicular" with the "manch de agua." The poet reinforcasthe noun giggg with the adjective canicular. Through the use of the redundant adjective, the poet intensifies the impres- sion of heat. Not only is there an interchange of anti- thesis within each part of the passage--the tangible con- fronted with the 1ntangible--but also a similar interplay 102 between the two sections--the intensive heat of part two contrasted with the implied coolness of "su esencia" from the first part. These similes are used by Zorrilla for three basic purposes. The "ir6 como una cordera" and the "como va sorbido. . ." assist in the qualification of the donjuanista concept. The "como un 6ngel" image supports the romantic feminine ideal. And the final simile, "su esencia. . .," is employed simply for esthetic impression. In his distribution of metaphors, Zorrilla, in the Don Juan Tenorio, zarzuela, employs nine, of which two refer to Don Juan, six describe woman, and one evokes a romantic image of life. In discussing Don Juan, Jacari- lla sings: De ellas es el capricho, de ellos el bu y el coco. (I.1.v) According to Jacarilla, for women Don Juan is the incar- nation of fancy; and for men, he is a bugbear or phantasm to be avoided. Or in other words, this is another oppor- tunity for Jacarilla to provide her colored image of Don Juan which, for her, remains constant throughout the en- tire work. Also, in discussing Don Juan Ciutti has his comments: La historia de Don Juan es una tela tejida por las manos del amor; una red do las almas sin cautela a traicion aprisiona el ciego dios. (11.4.1) Metaphorically Ciutti compares Don Juan's life to a tap— estry woven by the hands of love; and he also calls it a net into which all must fall. The personified quality 103 attributed to love accents the sensual and the sensorial aspect of Don Juan's amatory existence. And in the sec- ond part of the comment, Ciutti emphasizes the inability of woman to escape Don Juan's "net," for all are pushed by a feeling, by a "ciego dios" into his trapping embraces. Zorrilla makes use of these metaphoric images to develop further the idea of the fear that Don Juan creates in his fellow man, as well as to underline his expounded concept of Don Juanism. In the six metaphors employed to describe woman-- three of 1n6s, two of Ana, and one of Brigida--Zorrilla's principal purpose is to present a romantically idealized image of her. In speaking of Inés, Brigida comments: es la inocencia vestida, la sencillez encarnada C O O O I 9 Su 6mor’es. . . un volcan que la devora, un altar en que os adora. (I.2.iv) In the first section, the author, through Brigida, at- tributes the qualities of innocence and unaffectedness to Inés, the romantic ideal. In the second part, the author had divided gmg; into two facets: the sultry, the devouring sensual, the consuming; and the spiritual, the sacrificial, the religious. The counterbalancing of these two facets of love was always a source of polemics for the romantic writers; the idealized love of the spirit as op- posed to the down—to-earth, unaffected, love of the mun- dane. Here with Inés, the two are combined. 104 Related to an idea previously exposed in Don Juan's association of Inés's beauty with the divine, is the f6l- lowing metaphor in which he develops further this identifi- cation: Es el 6ngel que la faz hacia Dios me hace volver. (11.4.x) Not only does Don Juan attribute a celestial aura of beau— ty to In6s, but he also considers her as having fulfilled some divine missionary conversion. This aspect of woman fits well within the romantic concept of the feminine ideal. Woman, through her innocence and purity, closely approaches divinity. This is easily seen in the inter- cessions of In6s for the salvation of Don Juan. Directly in line with these comments are the qual- ities Don Juan attributes to Ana: corza ligera. . ninfa inocente. . : (I.2.v) Again the concept of innocente enters forcibly into the vocabulary of Don Juan. Zorrilla, in thinking of the ro- mantic ideal, cannot exclude this qualifying word from the description, because for him, as well as for the ma- jority of the romantics, this is an.intrinsic quality of the ideal woman. The "corza ligera" appears as a meta- phoric manner of glorifying her beauty by using the streamlined, classic lines of the gggga as an ideal. Counterbalancing the use of idealistic terms in the Preceding metaphors, there is the more realistic one in 105 which Zorrilla, through Ciutti, characterizes Brigida: Adioé, serpiente con pies. (I.2.iv) Of course, the allusion is Biblical. But it refers to the revived Spanish literary tradition of using the alcahueta for amatory excursions. The purpose of employing the metaphor in this case is similar to its use in the £32k 2; Genesis; that is, the introduction of temptation to attain the destruction of the ideal. The final metaphor employed by Zorrilla in the 223 Juan Tenogig, zarzuela, provides the reader with a roman- tic vision of life: Mar es la vida limpio y azul; barca perdida la juventud. (111.6.11) This metaphorical interpretation, in the first part, gives us a rose-colored view of the calmness of life; that is, the idealized life of the romantics which is separated from reality. In the second section, however, Zorrilla reduces his idea from the general to the specific,and es- pecially to that specific portion of life in which Roman- ticism finds its consummate expression--"la juventud." This juventud, in being termed a "barca perdida," reveals the clash with natural existence that the romantics suf- fered when their idealized view of life was crumbled by the supposed brutality of stark reality. These metaphoric expositions are used by Zorrilla ;principally for two purposes. 0n the one hand, he employs 106 these poetic creations to expound further the culmination of his concept of Don Juanism. This we saw in the state- ments of Jacarilla and Ciutti. 0n the other hand, he presents certain metaphors to develop specific tenets of romantic ideals and to suggest a problem encountered by the eXponents of this school: definite intrinsic qual- ities of the romantic feminine ideal; and the problem of undirected freedom resulting in the romantic clash with the real. Closely related to Zorrilla's use of language, meta- phor, and simile, is his identification of man with nature. This association stands out predominantly in two passages, although there are overtones of the same in other sections of the Egg Juan Tenorig, zarzuela. These two passages are in the scene in which Don Juan sings for Ana to appear, and in the scene analogous to the “escena del sof6." In a metaphoric fashion, Don Juan sings to Ana: Corza ligera, que descarriada vas por ladera desconocida, . O 0 O 0 O O corza a'quien yo reclamo vuelvete atras. Ya v6r6s: corza ligera,° qu6 feliz y libre vas. (I.2.v) The identification in this passage of Ana with the “corza ligera," as pointed out above, is primarily for the roman- tic idealization of feminine beauty. But, possibly more important than this, is the idea conveyed, which is quite similar to the "barca perdida." For the romantics, in 107 general, the natural life is the good life; for within nature there exists an innate feeling of freedom, although it be a parodoxical, misdirected freedom. This we see in the pgggg, a traditional symbol of implied freedom, but it is qualified by perdida. The same becomes apparent in the above selection where the ggggg is qualified by gellg and.l;p£g, but it also was originally characterized by the word descarriada. From the second passage, the duet between Don Juan and Inés, the ideal of Egg; is associated with Nature: El aire que se aspira se aspira aqui mejor, aqui todo reSpira felicidad y amor. O O O O C O suave murmullo to da aqui el viento, trina e1 acento del ruisefior; to da aqui arrullo la agua que pasa, todo. . . respira amor. (11.4.iv) In this brief passage from the longer duet, Don Juan as- sociates love with all the natural elements that surround his house. Not only is there an association of love with these elements, but also he implies that amor Springs from them--from the"acento del ruisefior," from the arrullo of "la agua." Love has its basis in Nature. Man, who is a subjective being, must receive this quality from Nature for his amorous inspiration. He must then interpret it and express it in his own language. For example, Don Juan says that love exists in the "acento del ruisefior;" it 108 exists there, however, only in so far as he hears it and expresses its presence to Doha Inés. As a romantic, Zorrilla not only incorporates the idea of Man's identification with Nature in his work, he also masterfully enhances the effect of his zarzuela through the use of a fascinating item--the plastic ele- ment. The vogue of this element actually reached a peak with romantic drama, for, in the attempts of the play- wrights to impress the audience with their extravagant use of the unusual and the estgamb6tlgg, they demonstrated a sincere concern for including the plastic in their works. In this zarzuela by Zorrilla, there is present a similar intent to impress as well as to create a sense of artis- tic balance within each scene. In the first place, Zorri- lla has divided the work into three acts and seven cuadros. The use of the cuadro is one of the author's attempts to attribute a painting effect to the work. Each cuadro has its own setting: the first, "jardin de la casa de los Te- norios;" the second, glagg; the third, "celda de Dona 1665;" the fourth, an apartment of Don Juan; the fifth, the pan- theon of the Tenorios. Each cuadro, in setting and action, and in creating a plastic impression, approaches in a sense an animated tableau. Further to see the use of a plastic element in this zarzuela, it will be necessary to note some of the stage (lirections. The first cuadro opens, with the following Cllrections, in the garden of the house of the Tenorios: 109 Jardin de la casa de los Tenorios, que se supone colocado entre el edificio de la Encomienda y el da la casa de los Te- norios. A la derecha la Encomienda, y a la izquierda la casa. Ambas tienen un postigo que da a la escena en las primeras cajas: estos postigos deben tener portadas o chambranas, que cuadren las figuras de D. Gonzalo y D. Diego. . .. En el centro de la escena hay una mesa preparada para dos personas, dos copas y un jarro. . .. (p. 5) The first impression that the audience receives upon the initial raising of the curtain is that of an actual paint- ing which has perfect balance: the two buildings serve as a right and left margin; the figures of Gonzalo on the right and Diego on the left are framed by the portadas and serve as an inner border accentuating the "mesa preparada para dos" with its two glasses surrounding the pitcher. The setting breathes anticipated action. After the intro- ductory scenes in which songs and dialogue have provided the invocation and introit for the wager between Don Juan and Don Luis, the two giants of defiance enter: . . .D. Luis por el lado de los Comen- dadores, y D. Juan por el de los Estudian— tes, entran en escena; . ..D. Gonzalo y D. Diego eschcuah inmoviles y enmascarados, encuadrados como dos estatuas, dentro de los marcos de los dos postigos. La luna alumbra la escena, y algunas antorchas en manos de actores. Silencio general. --D. Juan y D. Luis se adelantan a la mesa, cada cual por su lado, y van a ocupar las dos sillas. (p. 15) lflaintaining the previous sense of artistic balance, both Characters come onto the stage, the one from the left and tflue other from the right. They approach the center point, 110 or the table, at the same rate; and they arrive simultane- ously. Although silence is maintained until the two fig- ures reach the designated table, the attained equilibrium in setting transpires a sense of dramatic intensity. Gon- zalo and Diego, framed by the two postigos, counterbalance the focal point of attention. With the moon lighting the stage and with the flames of the specified torches filling in the shadows of the darker corners, one can imagine the deep emotion a painting of this scene wuuld evoke. Just as artistic balance was maintained with the entrance of Don Juan and Don Luis, the same evenness occurs as they leave, for "vanse cada uno con los suyos por distinto lado." In Cuadro 2, a similar symmetry exists. The setting has shifted to the piggg in front of the house of Dofia Ana de Pantoja: Plaza. En el fondo e1 exterior de la casa de Dona Ana, vista por una esquina. En las dos paredes que forman el angulo, hay en la de la izquierda una reja y en la derecha. . .una reja. . .. (p. 27) Breaking the horizontal lines of the scene are two walls of Ana's house which form the angle of the corner in the cen- ter-of the stage to provide another evenly balanced setting. Later in the cuadro (I.2.vii),.Don Juan will be stationed at the window on the left wall while Don Luis, to balance the impression, will be talking to Ana at the window on the right wall. Here again one finds the use of the plastic land.the pictorial element: Don Juan on the left inwardly «laughing at the ignorance of Don Luis; and the latter, on 111 the right, totally unaware of the proximity of his rival, attempting to assume control of the situation. As Act II, Cuadro 3, begins, the audience, as well as the reader, is presented with another painting; more- over, this "canvas" is equipped with its own soundtrack: Dona In6s arrodillada en el reclina- torio mientras canta el coro (de mon— jas) dentro. (p. 47) The setting, of exaggerated simplicity, consists merely of the novitiate's cell with Dofia In6s kneeling at her prayer bench. From behind the scene come the liturgic chants of the chorus of nuns. How more impressive an image could an author evoke in his attempts to emphasize the semi-divinity of woman? Simply from the immediate impression of this cuadro, one can easily see the concern for the cult of the Virgin so popular during the Middle Ages and revived by the romantics; for in this pictorial tableau the divine and the human are overtly combined. Thus, from the above-mentioned passages, we can see that Zorrilla has incorporated into three of the seven cuadros of his Don Juan Tenorlg, zarzuela, a plastic ele- ment. Obviously one cannot determine whether its inclu- sion was a purposely planned occurrence; it would seem plausible, however, to say that, due principally to the extensiveness of the plastic value in this particular gag— gggla, Zorrilla did intentionally consider its use in the work. Combined with the technical division of the cuadro, the author employed the plastic, as he did the fantastic, 112 to augment the impressiveness and the sensational aspect of the composition. As mentioned earlier,there are certain novel points announced in the Leyenda‘gg Don Juan Tenorio which became an integral part of the plot of the zarzuela by Zorrilla. In the first place, there appears in the leyenda the nar- ration of a century-old feud between the Tenorio and the Ulloa families. To pinpoint this rivalry to one particular passage is difficult; the following, however, smacks of the conflict: Alonso (Ulloa): oSac6is para hablarme a solas vuestra gente? Es burla o dolo. Y pues tengo aqui la mia, mejor partido os propongo. Ya que en 61 para meteros nuestro circulo habéis roto, salid de 61,0 atr6s volv16ndoos o rompiéndole: y sea pronto. César (Tenorio): Los Tenorios nunca cejan. Alonso: Pues los Ulloas tampoco. César: lBatalla, pues! Alonso: iPues batgélai Va de Ulloas a Tenorios. In the zarzuela Diego refers to this feud: Su (Don Juan's) boda con dofia Inés nuestra enemistad cortaba de dos siglos. (I.1.iv) Harmony was again to be restored to the family through the proposed marriage between Don Juan and Dofia Inés. But Gonzalo has broken the engagement of his daughter, 32"La leyenda de Don Juan Tenorio," pp- 1532-1533- 113 and thus has restored the "enemistad. . .de dos siglos." The second element announced in the legend and which is again brought to attention in the zarzuela is the in- heritance mandate which forbids the sale of the Tenorio estate. César in the leyenda announces: Asi es que ningfin Tenorio podia la casa en venta poner, mientras de su raza un individuo existiera.33 This point is emphasized by Don Juan in the zarzuela upon his return to Seville where he finds that part of the prop- erty has been converted into the pantheon for his victims: Escultor: Don Diego queria legar con toda su hacienda su palacio a la Encomienda, a la que el pertenecia: pero la justicia dijo que tal no podia hacer, no se bien por que. Juan: Por ser e1 palacio de su hijo. De esa casa el heredero no puede ser despojado jamas, ni por el Estado ni por deudas de dinero. (III.5.11) Prohibiting the sale of the property originated in the will of Don Gil Tenorio, the presumptive grandfather of Don Juan. The conflict that exists between Don Juan and Don Luis Mejia in the zarzuela can probably be based on a particular incident in the leyenda. In the discussion of the legend, it was mentioned that Beatriz, the wife of Don Gil, had brought dishonor to the Tenorio family. This alleged loss 33"La leyenda. . .," p. 1571. 114 of honor occurred through the illegitimate birth of twins to Beatriz. Before marrying Don Gil, she was originally a Mejia; in fact, a daughter of Luis Mejia.34 No names are given to the twins in the leyenda; one can conjecture, however, that the Luis Mejia of the zarzuela is probably one of the twins. As is custom, Christian names are usually maintained in.families over the centuries, and the duplication of names from grandfather to grandson is quite common. Assuming this to be true, one of these twins could very possibly bear the grandfather's name, Luis. But to return to the conflict between Don Juan and Don Luis Mejia, the leyenda states: Los gemelos crecer6n, y pues son adulterinos, sobre todos sus caminos un Tenorio encontrar6n.35 Although, as stated before, there is no direct connection mentioned in the legend, a possible source of contention between these two characters--1n addition to their similar daring and valor-—could very easily be this dishonor brought to the Tenorio family by Beatriz, who would be Luis's moth- er. One final comment concerning the leyenda refers, not only to the zarzuela, but also to the play Don Juan Tenorio; and that is the mere fact that Dofia lnés de Ulloa is placed 34"La leyenda. . .," p. 1542. 35Ibid., p. 1653. 115 in the convent as a novitiate. The convent in question becomes more emphatically related to the family of Dona Inés, when we learn: . . .eran confundador s los Ulloas del convento.3 The ancestors of Inés and Gonzalo Ulloa assisted in the founding of the convent. The leyenda Sheds some light upon the characters of the Don Juan Tenorig, zarzuela, as well as upon the motives which prompt these characters to action. More rays of understanding come by considering the limited parallels and possible influence of the Don Juan play-zarzuela tradition upon this zarzuela of Zorrilla. Tirso de Molina obviously inspired the dramatic basis of the Don Juan myth and legend. Hewever, with regard to this specific zarzuela, there is really no direct connec- tion with the play E1 burlador gg Sevilla gg_11£§g. As pointed out earlier, there are certain similarities be- tween the pereonality of the two Don Juans; but as far as the structure of the works are concerned, the minimal likeness constitutes no direct influence. Unlike the play of Tirso, the fig hay plazo. . . of Zamora indirectly shares some relation with Zorrilla's zarzuela. This parallel can be found in the charact6r Jacarilla. The similarity is seen in the introductory scenes in which Jacarilla is used as a source of wit, song, 36"La leyenda. . .," p. 1541. 116 and dance. The same is true with Pispireta of N3 hay plazo. There is a difficulty in relating this character to that of Zamora's work,for inspiration in casting the character came from La Salada of Castillo's zarzuela, El conygdado g2 16- dra, who two years earlier had employed Zamora's work as one of his sources. Narciso Alonso Cort6s, in his monu- mental work on Zorrilla, ponders in a footnote whether Zo- rrilla knew the zarzuela by Rafael del Castillo, and he admits that there is such a possibility: Haym mhecho bastante raro. En Octubre de 1876 (this should read 1875), se es- tren6 en el Circo Barcelon6s, de la ciu~ dad condal, una zarzuela titulada El con- vidado de piedra, con musica igualmente de Manent, letra de Rafael del Castillo. No conozco esta zarzuela del famoso folle- tinista. oHabr6 alguna relaci6n entre ella y la de Zorrilla, y algun acuerdo entre ambos? Es lo probable.3 Without any possible doubt, Zorrilla knew the zarzuela of Castillo.38 AS pointed out in Chapter I, Castillo employed Zorrilla's Don Juan Tenorio as a principal source of in- fluence.- At this time, the situation becomes reversed in that Zorrilla draws some inspiration, although in a limited sense from the zagguelgsta he originally influenced. The similarity between Jacarilla and La Salada is one example of the closeness of the two works. Second, certain verse 37Alonso Cortés, Zorrilla. . ., footnote 703, p. 771. 38Nicol6s Manent composed the music for both of these Don Juan zarzuelas. It would be very interesting to com- pare the musical scores of the two works to determine any overlapping from one piece to the other. 117 structure has been imitated. For example, the Don Juan of Castillo sings to Beatriz: Nifia adorada del alma mia, flor de las flores de Andalucia, blanca azucena, candida y pura, ensuefio casto de mi ventura. AEn d6nde est6s que a1 llamarte mi acsnto no vienes ya73 In comparing this passage with one from Zorrilla's zarzue- la, one sees immediately the parallel in structure: Corza ligera, que descarriada vas por ladera desconocida, donde te espera red preparada porque entrampada pierdas la vida. tA donde vas? corza a quien yo reclamo: vuelvete atras. (I.2.v) The two selections appear in each work at approximately the same place. In Castillo's, Don Juan employs the pas- sage to call to Beatriz; in Zorrilla's, the selection is used to call to Doha Ana. Also in both passages, the two authors employ a four-line portion of ten syllables fol- lowed by a three-line estribillo with a syllable count of five, seven, five. They differ in the rhyme of the four- line part: Castillo uses an aabb scheme, while Zorrilla employs an abab pattern; the rhyme of the estribillo, how- ever, in both selections is the same. A third example in which the two authors coincide is in the choosing of the word azucena to qualify Beatriz4O and Dofia Ana (1.2.1). 39Rafael del Castillo, g; convidado gg piedra (Bar- celona, 1875), p. 23. 4°1bid. 118 And finally, Castillo begins Act III of his zarzuela with a "coro de hombres," “cantos de una orgia," and "el choque de los vasos." In beginning the same Act in his work, Zo- rrilla picks up the idea of using a coro, but he changes the tone by using a "coro de monjas" who sing exaltations to the Virgin Mary, Jesus ,Christ, and the Holy Spirit. Thus in composing his zarzuela, it seems apparent that Zorrilla received inspiration indirectly from Zamora and directly from Castillo, a zarzuelista whom Zorrilla had influenced two years earlier. José Zorrilla had complained bitterly about the worth of his play, Don Juan Tenorig, and he had pointed out many times the shortcomings of the work. In his Recuerdos del tiempo viejo, he has a section in which he tells "de como se escribieron y representaron algunas de sus obras dram6— ticas." In this section of his memoirs, he offers to the reader "cuatro palabras sobre Don Juan Tenorio" in which he reiterates the deficiencies of the play. He comments that the Don Juan of the play knows not what he says; and he gives the following example: Ciutti..., este pliego ir6 dentro del horario en que reza dofia In6s, a sus manos a parar. iHombre, no! En el horario en que rezap r6, cuando usted se lo regale; pero no en 61 que no reza aun, porque aun no se lo ha dado usted. Asi esta mi D. Juan en toda la primera parte de mi drama, y son en ella tan inconcebibles como im— perdonables sus equivocaciones, hasta en las horas. El primer acto comienza a las 119 ocho; pasa todo: prenden a D. Juan y a D. Luis; cuentan c6mo se han arreglado para salir de su prisi6n: preparan D. Juan y Ciutti la traici6n contra Luis, y concluye el acto segundo diciendo D. Juan: A las nueve en el convento a las diez en esta calle. Reloj en mano, y habia uno en la emboca- dura del teatro en que se estren6, son las nueve y tres cuartos; dando de barato que en el entreacto haya podido pasar lo que pasa. Estas horas de doscientos m1- nutos son exclusivamente propias del re- loj de mi D. Juan. Zorrilla realized the anachronisms of the play; however, he made no effort in the zarzuela to correct them, which confirms further the opinion that the play was revised for financial reasons and not artistic honor. The crit- icism, "este pliego ir6. . .3 was obviously forgotten because the passage appears verbatim in the zarzuela (1.1.11). The same is true of the deficiency in the time element; in the zarzuela, all the action of the first one and one half acts is supposed to take place within the brief period of two hours, that is from 8:00 to 10:00 (11.3.11). The estreno of the Don Juan Tenorio, zarzuela, oc- curred on the night of 31 October 1877, and the work was presented for eight consecutive days. After Zorrilla had 41José Zorrilla, "Recuerdos del tiempo viejo," Obras completas, II (Valladolid,1943), 18 02. ~ 120 labored so hard to convince Delgado of the need for a £9- fundici6n, after he had launched such violent attacks against his first Don Juan, and after he had suffered so many pangs of jealousy in seeing Delgado and the theatri- cal directors profiting from his literary genius, Zorri- lla's second Don Juan was a complete fiasco. One critic of the day refused to analyze the zarzuela, which was, according to him: representada con profunda pena de los amantes de las letras. . .. No entra- mos en el examen de ese desdichado Don Juan Tenorio que disfrazado de tenor, ha penetrado con paso inseguro en el coliseo de la calle de Jovellanos, pa- ra ir desde alli, no al cielo, como el poeta quierfiz sino a1 profunda infierno del olvido. The prediction of this nineteenthacentury writer came true; the DLn Juan Tenor io, zarzuela, was cast into the depths of oblivion. Other journalists treated the zarzuela in prin- cipally the same manner. From the caustic pen of Garcia Cadena, we read: No por la entidad del poema, sino por lo que significa en la republica de las letras la insigne personalidad p06- tica de su autor, hemos de consagrar breves lineas a la inesperada transfor- maci6n que acaba de experimentar el drama fant6stico religioso DLn Juan Tenorio. El Sr. Zorrilla ha convertido al famoso burlador sevillano en perso- naje de zarzuela. . ..En una palabra, e1 D. Juan Tenorio de la zarzuela est6, en absoluto, dentro de las condiciones ambiguas de su refundida personalidad: 42Manuel de la Revilla, "Revista critica, " Revista contempor6nea, XI (noviembre, 1877), 120. 121 no sirve para Dios ni para el diablo; es un.mat6n que empieza a percibir en el brazo derecho los amagos de la pa- r6lisis. Several years later, Francos Rodriguez, in a series of articles entitles "De las memorias de un gacetillero," wrote the following comment: Los teatros por aquella 6poca (1877) empezaron la temporada con gran de- saliento. El insigne don José Zorri- lla quiso suplantar su Don Juan Teno- rio con otro transformado en zarzuela. El glorioso poeta no solo profano su propia obra, consintiendo que ponién- dola musica, se sustituyera a algunas escenas con arias, romanzas, duos, concertantes y coros, sino que adem6s rectific6 varios pasajes de su propia creaci6n inmortal. iQuiso quitar su auténtico y pri- mitivo brio a Don Juan Tenorio, suavi- zar ciertas temeridades del legenda- rio aventurero, tachar frases suyas que flotan y flotar6n siempre en el lenguaje espafiol! IEmpeflz temerario el de don José Zorrilla! These were the comments of the day and the reactions of the press. The Don Juan Tenorio, zarzuela, was a failure. But possibly more important than the fact that the presen- tation of the zarzuela was poorly received is the underly- ing cause for its failure. What determined the ill fate of this zarzuela? At first glance, one could say that the poetry of the zarzuela 4'3Peregrin Garcia Cadena, "Los teatros," La ilustra- ci6n espafiola y americana, XXI (8 noviembre 1877), 290. 44 uoted in Emiliano Ramirez fingel, José Zorrilla: biografa aanecd6tica (Madrid, 1915),p p. 135. 122 is not as brillaintly outstanding as that of the 222 £392 Tenorio play. This may be true; however, "se aplaudi6 m6s por los versos que por la m6sica."45 Some say the music destroyed part of the worth'of the zarzuela, but Zorrilla himself complimented the composer Manent for the excellent musical score;46 therefore, we cannot decidedly attribute the failure either to the poetic quality or to the musical accompaniment. Some of the audience objected to having Don Juan sing, for according to them, this destroyed the legendary image of the burlador. To this complaint, Zorrilla retorted: Dicen muchos que. . .no quieren que cante D. Juan Tenorio. No compren- do la l6gica ni e1 escr6pulo meti- culoso de los que emiten semejante opini6n. 81 se tolera que cante el emperador Carlos V, Crist6ba1 Col6n, Galileo y Moisés, apor qu6 se ha de repugnar que cante Don Juan? Si canta en la 6pera italiana, opor qu6 no ha de cantar en la zar- zuela espanola? aEs Don Juan, por ventura, m6s personaje; es, n1 puede ser m6s grave, m6s grande, m6s no- ble, ni m6s digno de respeto que el emperador don Carlos, que llen6 el mundo, y que Mois6s, que habl6 con Dios cara a cara?4 Another example of Zorrilla's syllogistic reasoning is recorded by Fern6ndez Brem6n in a "chronicle" of the day: 45Juan L6pez N6nez, Don Juan Tenorio en el teatro, la novela.y la poesia (Madrid, 1946), p. 51. 46Notes to the zarzuela, Obras completas, p. 1722. 4711mm. 123 --Pero, tes cierto que canta la estatua del comendador en el Tenorio de Jove- llanos, Sr. Zorrilla?, decia a1 poeta otro escritor. --Sf, sefior; tqué tiene do extranO? con- test6 el poeta. --Me parece el canto impropio de una estatua. --&Pues que, no cantaba antiguamente 1a estatua de Memn6n? La verdad es que, después de admitido que la esta- tua del comendador hable, lo que na- die rechaza, no hay derecho para im- pedir que cante y aun que baile, si convi iese a los intereses del au- tor. The public rebelled against the fact that Zorrilla had given Don Juan and the Comendado; the gift of song. They objected because their previous image of the work was not fulfilled. Third we could attribute the failure of the zarzuela to the poor quality of the dramatic troupe that staged it. Zorrilla comments on this aspect in a letter written the day following the opening performance: El maestro Manent (forastero en Madrid) me ha hecho asistir a los ensayos de la zarzuela Don Juan, que se silb6 ano- che con un lleno completo. El baritono estaba ronco como un jarro, y todos los actores, Que eran catalanes, hablaron como la embajada de perros a Jupiter. 49 One might think that this criticism of the actors by Zorri- lla is simply an attempt to eXplain apologetically the poor 48José Fern6ndez Brem6n, "Cr6nica general, " La ilustra- ci6n espafiola y_amerioana, XXI (8 noviembre 1877), 2 2. "49Quoted in Francisco Cervera, "Zorrilla y sus edito- res," Bibliograffa hisp6nica, III (marzo, 1944), 169. 124 success of the work. His comment, however, is supported by a similar criticism taken from a theatrical review: Ni la familia de carne y hueso que juega en el poema ha expresado con sentido y natural acento los efectos de humanidad, ni la efigie marmorea encargada de representar los preter- naturales acentos de la divina miseri- cordia, ha estado a la altura de su mision. This negative evaluation of the production comes from the writer who, in.the same article, harshly criticizes the zarzuela itself. Thus, one might say that this work of Zorrilla enjoyed no success owing to several factors, or to a combination of the same: the lack of poetic brilliance, poor musical col- laboration, the idea of having Don Juan sing, and the sub- standard performance of the dramatic company. Perhaps, however, even more instrumental than the above factors in the failure of the zarzuela were the following two reasons. The age of Romanticism had ended by the time Zorrilla made the revision, and, consequently, realism had begun to invade the drama. The zarzuela form had reached a peak in performance and reception, and the most popular aspect of this genre was the light comedy that it included. Not only would the public unfavorably react to an attempt to return to the Romantic, but especially they would rebel at the introduction of the Romantic into the zarzuela which by nature was a genre of realism. Don Juan was a success 50Garcia Cadena, p. 290. 125 in the Italian opera because the opera, as a form, tends to present the Neoclassio and especially the Romantic. But the zarzuela was a form which actually sprang from the pop- ulace's desire to possess an indigenous, operatic structure which- would depict Spanish realism. Also, one can say that the Don Juan Tenorio, zarzuela, was not seen from a first-hand point of view. Before en- tering the Teatro de la Zarzuela, the audience already had predetermined that a zarzuela by Zorrilla, especially a Don Juan zarzuela, could not be more impressive than his play, which they knew well and from which they could recite verses and even entire scenes. Their encounter with this zarzuela was not a virgin eXperience, for they could not but compare it with the play Don Juan Tenorio. From the public's point of view, Zorrilla had exhausted the Don Juan theme in 1844 and had created the definitive Don Juan play. An attempt to alter any portion of the drama, or even to revise the work completely, would be considered--as it was considered—-blasphemous. The changes that were made, the revisions that were effected, and the fundamental differ- ences between the two works will be discussed in the fol- lowing chapter. CHAPTER III THE ZARZUELA VERSUS THE DRAMA In the previous chapter a detailed discussion of the Don Juan Tenorig, zarzuela was presented. The events which led up to its being composed were pointed out, the correspondence between Zorrilla and his editor Delgado was employed to highlight the discussion, and the zarzuela itself was analyzed. It is the purpose of the present chapter to compare the zarzuela with the play Don Juan Tenorio, by studying them from several points of view: the difference in plot and plot structure, the difference in scene sequence, a comparative analysis of the personal- ity of Don Juan, a comparison of the other characters of the other characters of the two works, the similarity be- tween the theological intent of the two compositions, and a discussion and interpretation of the major innovations and changes introduced into the zarzuela. In writing the Don Juan Tenorio, zarzuela, José Zo- rrilla followed the same basic plot outline that he had employed thirty-three years earlier in composing his orig- inal Don Juan play. Both works depict the efforts of Don Juan to overcome his predestined fate of damnation; and they show that through the exercising of his will and through the aid given by the Romantic feminine ideal of innocence, he attains salvation. The play, Don Juan Tenorio, has as its subtitle, 127 "Drama religioso fant6stico en dos partes." The first part of the work includes four acts, while the second part consists of three. The zarzuela adheres to basically the same formal divisinn with one major change; no longer do the "dos partes" exist, for the zarzuela is made up of one unit subdivided into primary and secondary groups of three acts and seven cuadros. At first glance, the physical make-up appears completely different from that of the play; upon close examination, however, the divisions seem virtu- ally identical with the only distinction being the new terminology. The seven cuadros, the artistic use of which was discussed in the previous chapter, are, in reality, the seven acts of the play; that is, the four acts of the first part, and the three of the second part. In revising the work to compose the zarzuela, Zorri~ lla effectively disposed of several scenes. By omitting the character Crist6fano Buttarelli, the author removed from Act I several unnecessary passages which actually were unrelated to the plot and character development of the work. Of course, this removal necessitated the relo- cation of setting, because formerly the action of the first Act took place in the tavern owned by Buttarelli. This mi- nor detail was adjusted by establishing the garden of the house of the Tenorios as the setting. A second series of scenes was also omitted from the initial act. These are scenes v-ix in which both Gonzalo and Diego secretly enter, obtain a mask from.Buttarelli, and are seated at the ex- 128 tremes of the stage. In the zarzuela, the two simultane- ously enter discussing Don Juan, and they exchange views and reasons for appearing at the reunion (I.1.iv). This omission results in the reduction of the original five scenes to one. Moving to Act III, Zorrilla discarded the initial scene in which the Abadesa lectures to Dona Inés, and he replaced it in the zarzuela with an introductory scene of intense plastic sensibility. At the end of the same act, the author removed the scenes in which the Aba- desa, the Tornera, and Gonzalo discover that Don Juan ab- ducted Dofia Inés from the convent. It is my opinion that the removal of these scenes, especially the last one (lII.viii), was unfortunate; for in this passage Gonzalo discovers the absence of In6s, and, by means of the for- gotten letter, he concludes that she was carried away by Don Juan. This scene eXplains Gonzalo's later logical action of searching out Inés at the house of Don Juan. In the following act, Act IV, Zorrilla again discards the last scene. In this instance, the removal of this portion (IV.xi) does not affect the natural development of plot; it does, however, do away with the famous closing lines of Dofia Inés: Todos: iJusticia por dofia In6s! Inés: Pero no contra don Juan. (IV.xi) These are the lines which have been pointed out by sev- eral critics as the ones which most strongly demonstrate the impact occasioned by her symbiotic experience with 129 Don Juan. Moreover, with regard to the physical and plot struc- ture of the two works, one finds that in the zarzuela the general tendency is for Zorrilla to disregard ordinarily the original opening scene of each act, thus altering it or replacing it with a musical introduction. The main trend was to provide the initial scenes with a musical interplay between two well-divided groups, or between one chorus and an individual. This revision was principally enacted to assist in the reduction of the original work from the standards of play structure to those of a gag- 22212- To show better the relationship of scene sequence within the two works, I have constructed the following chart. The zarzuela divisions are provided on the left with the analogous scenes from the play on the right. If no cognate scene exists within the plat, the space allowed has been left blank. ZARZUELA PLAY 1.1.11. . . 2 ii . . . 1.I.i iii. iv . v . . . vi . . . xii vii. . . xiii, xvi 1The capital Roman numeral refers to the Act; the Ara- bic numeral, the cuadro; and the lower-case Roman numeral, the scene. 2The Arabic numeral here refers to the "dos partes" of the play; the capital and lower—case Roman numerals repre- sent the same items as in footnote 1. 130 1.2.1 . . . ii . . . iii. . . 1.II.v iv . . ix v . . x vi . xi, xii vii. 1v, vi viii vii 11.3.1 . . 1.III.ii 11 . . 111 iii. . iv iv . . iv 11.4.1 . . ii . . . 1.1V.i iii. . . 11 iv . . 111 v . iv vi . . v vii. . vi viii . vii ix . . viii x . . ix xi . . x 111.5.1 . . . 2.1.1 11 . . . ii iii. . . iii iv . . . iv v . . . v vi . . . vi 111.6.1 . . . ii . . . 2.11.1, ii iii. . . 11 iv . . . 111 v . . . iv, v 111.7.1 . . 2.111.i ii . . 11 iii. . . iii, iv As can be seen from the diagram, the greatest diversity and discrepancy, as far as scene sequence is concerned, occur within the first two cuadros of the zarzuela. The remainder of the work, in general, upholds faithfully the same pattern of dramatic action as the play does, with 131 the exception of the exclusion of several introductory or terminal scenes. The adaptation of the verse of the play to the gag- gggla form follows this same tendency to a certain degree; that is to say, Zorrilla has allowed the greatest percent- age of verbatim copying to occur after the end of the sec- ond cuadro. I have made a careful, line-for-line compar- ison of the two texts, and the results show the following percentages of self-plagiarism: cuadro 1, 23%; cuadro 2, 15.6%; cuadro 3, 80.9%; cuadro 4, 57%; cuadro 5, 39.15%; cuadro 6, 24%; cuadro 7, 18.7%. These figures represent the actual amount of each cuadro that was copied word-for- word from the analogous act of the play. The reason for the reduction in the percentage with cuadros five, six, and seven, is due principally to the fact that Zorrilla abridged considerably the action, and consequently the dialogue, of the cognate scenes of the play. The average of the entire zarzuela is that 36.4% of the verses in- cluded in this refundici6n were taken textually from the play. Throughout the two works, the personality of Don Juan stands out as an imposing force, as a vortex that engulfs all that comes within his path. In comparing the protag- onists of Zorrilla's two productions, one finds that their basic desires, aspirations, problems and attempts at solu- tions are strikingly related. The dynamic forcefulness of 132 the Don Juan of the play was inherited directly by the protagonist of the zarzuela. The use of independent wealth to supplement the innate compulsive drive is man- ifested and executed by both figures as a natural reac- tinn to like situations. A constrasting distinction re- lated to this similarity of the two protagonists can be seen in the difference of their interpretation of action. /The Don Juan of the play strongly depends upon his past deeds as the basis for his superiority. This we can easily see in his detailed documentation of the year's happenings; every act of seduction, of murder, of decep- tion must, according to this protagonist, be accounted for. His existence is contingent upon the acceptance and glorification of his deeds by his fellow man. Action for him is a feat executed in the past and converted into a nucleic spark that ignites a forest of exaggerated con- versations. Within the play, Don Juan has achieved a status of legend and perhaps myth. 0n the other hand, the Don Juan of the zarzuela assumes a contrary point of view. The past for him exists as a body of historical fact, isolated from the present, and unalterable owing to its remoteness. IHis existence bases itself not on what he has accomplished, but rather on what he does, and will, accomplish. Emphasis is placed on his realness rather than on the aura of legend which surrounds the protagonist of the play. This is due, more than likely, to the fact 133 that the zarzuela has existed primarily as an outlet of. realistic expression as Opposed to the falseness of the Romantic, sentimental drama. In addition, the Don Juans of the two dramatic forms both possess the estimable quality of firmness of convic- tion. Just as this characteristic is shared by the two of them, so to both is lacking the ability to make rational decisions, a trait in which the French Don Juan excels. But once their emotional conclusion has been established, a firm belief in it appears. Some writers have selected this point and, in general terms, have explained it as being characteristic of the Spanish personality. Both Don Juans represent the embodiment of basic Ro- mantic ideals. The protagonist of the zarzuela, even though the work is of a more realistic nature, tends to- ward the ideology of the Romantics on several occasions. The love of Don Juan--of the play and of the zarzuela-- for Dofia Inés is of the type which reached its consummate expression during the Romantic period; this is the love for the ideal, the unattainable, the unseen. This is the love code by which man exalts the virtues and beauty of woman, thus elevating her and associating her name and attractions with the divine. This is the love of Don Juan for Inés; the conflict between the human and the celestial. In6s, enshrined in the cnnvent~-the unattainable and the d1vine--has never been seen by Don Juan, for he has only been told about her and her virtues. The fulfillment of 134 a love of this nature can be attained only in the manner in which Dnn Juan acts; that is, only by brazen defiance of God and man. Strangely enough, however, once this level of amatory experience has been attained, the re- sulting effect is the almost immediate identification of the male with the virtues of the female. This identifi- cation of Don Juan with the quality of Inés-—innocence-- causes his abrupt change in nature, the subservience of the self, the outburst of humility. The trajectories of the amatory experience of the two protagonists parallel each other: from their incipient elements of human sen- suality to the exaltation of, and the searching for, the ideal; from the defiant manifestation for possession to the saintly expression of humbleness. Also with regard to the embodiment of Romantic tend- encies, we see Don Juan's emotional outbursts of impatience. The Romantic world is a-world of problems, a world of searching, an unreal world that clashes with the real. In his exclamatory eXpressions of impatience, Don Juan is not complaining of situations, but rather, he is ques- tiOning his circumstances. He, as a Romantic, searches for an answer. Although he is probing, however, he truly expects to receive no reply. He does not find the solu- tion that he is seeking; the solution is brought to him. He is incapable of finding the answer; however, he receives the reply through his doubting, through the exertion of his 135 will, and through the efforts of Dofia Inés. His solution, his reply, his answer is eternal salvation. Although the two Don Juans share several qualities and characteristics, the element in which they are divided is perhaps the one of primary importance throughout the play and the zarzuela. This is the distinction made be- tween the concepts of the burlador and of donjuanismo. Even though the foremose eXpression of the burlador is found perhaps in Tirso de Molina's comedia, the play Dgg £293 Tenorio of Zorrilla maintains, to a certain degree, the tradition of the playboy or trickster. In the play, Zorrilla stresses more this facet of the protagonist than he dOes in the zarzuela. In preparing his refundici6n this author has presented what may be the superlative ex- pression of donjuanista ideology. Zorrilla has manufac- tured a character not necessarily gifted with the overt talents of a burlador, but, rather, one endowed with an innate bewitching charm that emanates from his corporeal being. This quality, as was pointed out in the preceding chapter, had its incipient elements in El burlador gg‘gg- 31119, and it was suggested as a minor theme in the 222 £229 Tenorio by Zorrilla in 1844. The emphasis was re- versed so that the gggjuanista attitude became the salient theme in the zarzuela of 1877, and the burlador aspect was subordinated to a secondary or even terciary level of im- portance. This attitude of Don Juanism, as discussed in 136 Chapter II, is that reaction of the female to the male, by which she becomes the subservient factor and sees him as a superhuman entity. Through this association the woman becomes an almost aggressive type; she initiates the relationship by freely submitting herself to the male, an action suggestive of the offering of sacrifices to the gods. In discussing the other principal character of the two works, Dofia Inés, a division must be made in the analy- sis; for this personage appears in both works on two dis- tinct planes--the hunan and the supernatural. Paralleling these two constrasting levels are the two respectively dif- ferent attitudes of this character--the defensive and the offensive. During the first half of the two works, that is, with regard to the human plane of Inés, her basic strategy and motives of action stem from a defensive point of view. 0n the other hand, in the latter half of the two dramatic pieces, the stimulus of action is changed to an offensive attack; that is, this change occurs upon her as- suming a supernatural stature. The introduction of Dona Inés in the play occurs while she is speaking with the Abadesa (1.111.i). Inés immedi- ately produces an insipid impression as she sits disinter- ested in what is being said. A partial explanation of her distraction appears in the following scene in which she at- tempts an analysis of her own indifference and lack of in- 137 terest. In the zarzuela the same type of self-analysis is attempted; the motive behind her distraction in this work, however, stems from a different source, and it is definitely stated. Here she concerns herself not with the sermons of the abadesa, but with a more personal dilemma: to don the wimple or to leave the convent. Her decision is to accept the novitiate, but never to take permanent vows, because she prefers freedom to the cloistered life of a nun. When we compare these analogous scenes of the two works, it ap- pears that the one of the zarzuela is more successfully drawn; the dramatic conflict is better depicted and more clearly defined. One never really understands the problem that plagues the Inés of the play; for it seems that this particular scene of the play lacks a fixed plan. To continue with the comparative deve10pment of the character of Inés in the remainder of the two works, it would be safe to say that in the convent scene with Bri- gida (p. 1.111.111; z. 11.3.11) Dofia Inés is presented in virtually the same light, for the action and dialogue of the zarzuela parallel those of the play. The same is true in the In6s-Brigida scene in the house of Don Juan (p. 1.1Vii; z. 11.4.iii) because Zorrilla, in preparing the refundici6n, essentially traced this portion of the dialogue, verse for verse. The next important appearance of In6s in the two works is in the pantheon where her sombra speaks with Don Juan. 138 Included in the sombra of Inés, in the play as well as in the zarzuela, is an offensive manner of attack; between the two works, however, there is a slight difference in the ag- gressive approaches of the two characters. In the play, the sombra of Inés appears to Don Juan and relates that for him she has endured the purgatory of "ese m6rmol mortuorio" (2.1.iv). Also she has offered to God her soul as a price for the "alma impura" of Don Juan. She then recites the message given her by God whereby she was to wait in her tomb for Don Juan, and whereby the decision of Don Juan would determine their fate of either eternal salvstion or perdi- tion. Inés's approach to Don Juan is one of indirect ag- gression, for she merely quotes to him the mandate of God, and then, for purposes of emphasis, she paraphrases the order. This indirect attitude lacks the feeling of per- sonal conviction which appears in the direct approach of the In6s of the zarzuela. In the zarzuela action of the same scene, Dona In6s speaks frankly to Don Juan and emphasizes to him that their destiny rests upon his decision to repent or to ignore her warning, but she also attempts to encourage persuasively the decision to repent by stating: Ven tu, don Juan, ven conmigo, que yo te gufo a tu bien. (III.5.iv) This supplication is then followed by a duet in which she reiterates the imminence of the hour of judgment, followed by an insistence that he take advantage of the additional 139 grace period. All concern and warning dictated to Don Juan by this In6s emerge in a direct manner and in a fashion by which she is also included in the declaration. The same attitude appears later in a short scene with Don Juan (p. 2.11.iv; z. 111.6.x). The Inés of the play version merely echoes what Gonzalo has told Don Juan: .ledita lo que al buen comendador has ofdo, y ten valor para acudir a su cita. (2.11.1v) The only mention of herself, the only manner in which the action is directed to include her, stands at the end of her brief warning when she reminds him: .maflana, don Juan, nuestros cuerpos dormir6n en la.misma sepultura. (2.11.1v) Although the Inés of the play approaches Don Juan offen- sively, her only role is that of an intermediary. She does not direct his thinking; she does not even direct her own. Her principal function is to repeat, summarize, and recall to the protagonist what he has been told by others, or what others have told her to relate to him. In the analogous scene of the zarzuela, Dofia Inés em- ploys a different approach. Her initial statement demon— strates this distinction: Por ti en espfritu velo: arrepiéntete, y el cielo _ te abriré: rindete pues. (111.6.v) In this work, Inés is no longer an intermediary, for she is the active force. She does not state that she will 140 intercede for the protagonist; intercessions are not neces- sary because, as she states, "el cielo te abriré." This interpretation of Dona In6s in the zarzuela is the pin- nacle of the Romantic in that she becomes identified with the Virgin and attains the equipollence of God. Thus Zorri- lla has superseded his previously outstanding depiction of woman and ideal love as occupying a median level between God and man. From the comparative discussion of the character Dofia In6s, we see that in the first part of the play and the ERE- gggla, Zorrilla has outlined her to respond to similar stim- uli in fundamentally the same manner. The only exception appears in the initial convent scene in both works in which the author has employed a more definite and more easily recognizable plan in the zarzuela version. In the second half of the two dramatic pieces, In6s has emerged from her state of reticence to assume a more aggressive role. In the zarzuela, moreover, she shows more conviction, more character, and more feeling than the one in the play; for in the refundici6n, she employs a decidedly more personal, more direct approach than in the play. Finally, Zorrilla has elevated his interpretation of woman and of ideal love in the zarzuela by doing away with the role of intercessor that Inés maintains in the play, and by substituting for it a position equal in force and stature with that of the divine. 141 The minor characters of the zarzuela perform essen- tially the same function as those in the play. In the refundici6n, Zorrilla has removed completely four of the minor characters of the play (Buttarelli, la Abadesa, la Tornera, Miguel), and in place of Pascual, Centellas, and Rafael de Avellaneda, he has substituted Gast6n, and EEIE? diantes 1 and 2 respectively. The replacements serve the same purpose and execute the same roles. The minor role of Dofia Ana de Pantoja in the zarzuela parallels the one in the play. In both works she represents a goal that must be, and is, won. Likewise, Don Gonzalo de Ulloa ful- fills the part in both the play and the zarzuela of the keeper and defender of the sanctum sanctoggm. Quantita- tively speaking, his role in the refundici6n is less pro- nounced than in the original play; his function in the two works, however, is equally stressed. The capacity of Don Diego de Tenorio is indeed secondary, and in both ver- sions he executes the same role of the irate father, in- capable of controlling or directing the actions of his son. The only difference, with regard to this character, is that in the zarzuela we are aware that he has violated Tenorio tradition, according to the Lexenda, by altering part of the estate. Furthermore, Luis Mejia, the dramatic counterbalance of Don Juan, discharges primarily a similar role in the two works. It seems that in the zarzuela, at least in the first encounter with Don Juan (I.1.vi), Luis serves as a tempering force for the protagonist. 142 Unlike the above-mentioned secondary characters, the roles of Brigida and Ciutti in the zarzuela have been some— what altered from their original ones in the play Q23 Juan Tenorio. Brigida still continues to represent the renewal of interest in the traditinnal Spanish literary figure of the go-between, or the alcahueta. Brigida appears in four scenes in the two works, and in all but one of them she has maintained the same stature in both versions. The in- novation occurs in the zarzuela scene with Don Juan (I.2.iv). In this scene she employs basically the same business-like techniques as in her other appearances; it seems, however, that she speaks in a manner that would tend to disrupt the verisimilitude of the figure. Even in the play she employs some flowery and highly sonorous language; in the zarzuela this use becomes more extensive. Her dependence upon po- etical phrases, similes, and metaphors is too exaggerated; it tends to throw her out of character. And, in this sense, the play versinn of this character seems better cast than the one in the zarzuela. The second of these characters, Ciutti, has received a slightly different role in the zarzuela, for in this get fundici6n he has attained a position of greater eminence. His primary function is that of a lackey and confidant. In the play this character makes seven principal appear- ances, but the zarzuela includes four additional scenes in which Ciutti prominently figures. The basic difference in his character and function is that in the zarzuela Ciutti 143 excels in offering practical advice to the protagonist. It is my opinion that in the zarzuela this character approaches the Golden-Age practice of the gracioso and more especially the Catalin6n tradition. In the play 292 Juan Tenoflg, Ciutti demonstrates a concern for the well-being of Don Juan; this manifestation occurs, however, more latently, rather than in the overt manner that it does in the gag- ggela. Ciutti in the zarzuela, but not in the play, per- forms an additional service that aids in the portrayal of Don Juan. In Act I, Cuadro 2, Scene 11, Ciutti, speaking to the estudiantes, tells briefly the biography of Don Juan, his aspirations, his motivating forces, and the re- lationship that exists between master and servant. Although this passage pronounced by Ciutti would be too extensive for the modern stage, the value of the factual content and the interpretative study of Don Juan overshadows the disadvan- tage of length. In a later scene this character offers another interpretation of Don Juan (11.4.1); however, the interesting aspect is that this passage and the previous one differ slightly in tone and content. Zorrilla allows these interpretative selections of Ciutti to parallel the character change of Don Juan from one act to another. This phenomenon does not take place in the play. One final com- ment with regard to this character is that in comparing the two works, one sees that witty asides for purposes of comic relief are relatively limited in the zarzuela, while in the play version they appear more frequently. 144 In composing the refundici6n, Zorrilla has employed virtually the same secondary characters, with minor var- iations. These characters, for the most part, figure in the zarzuela in similar situations, and in a like manner as they do in the play. Brigida and Ciutti are the two personages which demonstrate fundamental changes or al- terations. The role of Brigida in the zarzuela is infe- rior to her part in the play principally because her poetical language adds an element of falseness to the character. On the other hand, the servant of Don Juan, Ciutti, receives a more prominent position in the zarzuela and is used skillfully by the author for the delineation of the character of Don Juan. Much has been written about the theological state- ment of the 292 Juan Tenorio, and especially about wheth- er the work is that of a heretic. As far as can be de- termined, and in agreement with the lengthy discourse of Ib6fiez,3 the play by Zorrilla, and eventually the zarzuela of the same name, contain no material, nor does either sug- gest any, that could be considered anti-Catholic. One mi- nor point of a theological nature is the glorification of spiritual love as opposed to human love. But the primer- dial religious purpose of the play is to demonstrate Cath- olic teaching with regard to eternity and eternal salva— 3D. Ib6nez, "El Don Juan Tenorio de Zorrilla," Ciudad £12 Dios (1921-1924). 145 tion. Zorrilla uses both the "estatua de don Gonzalo" and the "sombra de dofia In6s" to convey this to the reader: Al sacrilego convite . que me has hecho en el panteon para alumbrar tu razon Dios asistir me permite. Y heme que vengo en su nombre a ensefiarte la verdad; y es: que hay una eternidad tras de la vida del hombre. (2.11.11) In the play this is stated by Gonzalo to Don Juan. This open declaration is the initial "message" of the author. He makes no attempt to obscure the declaration, for it is a sincere proclamation on the part of Zorrilla, who, eight years after composing the play, was to pronounce proudly: Y he aqui porque cuando hoy mi voz levanto cristiano z espafiol, con fg’y sin miedo, canto mi religiBn, mi patri canto. The second portion of the teaching, as demonstrated in the play, is pronounced by the "sombra de dofia Inés" in a later scene: un punto se necesita para morir con ventura. (2.II.iv) Death may be approached from a calm, tranquil, happy or "fortunate" point of view, provided the necessary require— ments of the Church are met. Repentance of sin facilitates the gaining of eternal salvation. In composing the zarzuela, the author has omitted, or possibly overlooked, the first tenet mentioned in the play; 4José Zorrilla, "Granada, poema oriental," Obras com- pletas, 1, 1141. 146 that is, the definite existence of an eternity. However, the second teaching--that of salvation-~18 presented with a degree of emphasis at least equal to that of the play. The "estatua de don Gonzalo" summarizes this feature when he appears at the dinner given by Don Juan: Al sacrilego convite que me has hecho en el pante6n, para alumbrar tu raz6n Dios acudir me permite. Y en su divina clemencia y a ruegos de dona Ines, te concede un plazo: y es una hora m6s de existencia. -— Aprovéchala, don Juan, Un punto de contrici6n da a un alma la salvaci6n. 5 (111.6.111) The first portion of this selection is the reworking of the analogous passage from the play.6 Also we notice that, in agreement with what was discussed earlier, the line "y a ruegos de dona Inés" underlines the idea of Zorrilla's identifying Inés with the Virgin Mary and the apotheosis of woman. The final two verses point out literally that a moment of sincere contrition provides the redemption of a soul. This same homiletic point is reiterated in a later pantheon scene (111.7.11). With the minor exception men- tioned above, the theological intent of the two Don Juan dramatic works of Zorrilla is essentially the same. The major innovations that Zorrilla introduced in the zarzuela are, in part, corrections and additions to certain 5Italics mine. 6See the analogous passage on page 145. 147 passages which formerly were illogical, and an abridgment of the entire text. The first innovation that attracts the attention of the reader can be found in the introduc- tory scenes of the zarzuela. Zorrilla has divided the people of Seville into two distinct groups: (1) comenda- dores, caballeros, and (2) estudiantes, who strongly sup- port Luis Mejfa and Don Juan respectively. This first division is based, more than likely, on the Leyenda g2 Don Juan Tenorig, in which the Mejfas appear as a.family of nobility and are highly regarded by the rest of the city. On the other hand, Don Juan is cheered on by the group of estudiantes, for whom he is an idol. The re- lation here seems sufficiently obvious. Don Juan--the representation of youth, the exaltation of freedom, the attempt to break with tradition, the emergence of self-- is supported by students who, generically and tradition- ally speaking, tend to represent the same. This grouping introduced in the zarzuela is more of a symbolic nature, and it lends itself well to the use of the plastic ele- ment discussed in the previous chapter. A second innovation in the zarzuela has already, in part, been discussed; that is, the extensive use of two characters, of which the first is Ciutti. Zorrilla em- ploys this figure to assist in the characterization of the protagonist. The mere fact that Ciutti is allowed to relate, on several occasions, to the group of estudian- tes biographical and personality data about Don Juan dem- 148 onstrates the impressive role that he maintains. The dramatic importance ascribed to Ciutti is completely novel to the zarzuela. The second character manipulated to ca- pacity in the zarzuela is Jacarilla. This is the person- age who had once been willingly "enjoyed" by Don Juan. She continued to offer herself to the protagonist, who has described her and what she represents in this manner: iQué cualidad tan extrafia tiene la mujer que quiere! Oue ama hasta que se muere al primero que la engafia. (I.1.vi) This character is a complete innovation, with no analogous figure in the play version. She was created to serve the novel purpose of depicting and adding emphasis to the con— cept of Don Juanism. In the play Zorrilla had used Inés, to a certain degree, to point out the dual feature of the protagonist; however, in the zarzuela, he expands this feature to Inés and adds Jacarilla to counterbalance and emphasize the effect. A third innovation can be seen in the corrective am— plification of a certain detail which occurs in the dia- logue between Ciutti and Brigida (1.1V.i). In the play, these two characters are discussing the whereabouts of Don Juan, and Brigida inquires why the protagonist did not accompany them when they left the convent: Ciu: Tiene all6 en la ciudad todavfa cuatro cosas que arreglar. 149 Brf: eagle 21 my" Ciu: Por supuesto. The question, "para el viaje," in reality comes from Zorri- lla himself instead of from Brigida; for there appears no previous mention in the play about a 3191;. This mere oversight in the play was corrected thirty-three years later when the zarzuela was composed, by changing the pas- sage to read as follows: Brf: Pero, apor qué no se vino con nosotros? Ciu: Tuvo all6 en la ciudad, para g1 viaje, cuatro cosas que arreglar. Bri: ePara el viaje? Ciu: For supuesto. (11.4.11) The mere insertinn of the eXplanatory three words clarify and render logical a previously irrational and incongruous dialogue. In comparing the famous "escena del sof6" of the play with the cagnate scene in the zarzuela, one can see some striking similarities, as well as some points in which they differ. The purpose of this scene in both works is the same. It is in this scene that Zorrilla shows the re- duction of Inés's love from the plane of the ideal to the level of reality and sensuality. On the other hand, in 7 Italics mine. 8 Italics mine. 150 this same scene Don Juan's love becomes openly converted from the human to the spiritual level; it is a perfect criss-crossing or exchanging of ideals between the two characters. Earlier in both the play and the zarzuela there had been certain insinuative mention of this dual- istic conversion; in the "escena del sof6," however, we see the actual readjusting of values. This scene has also been a constant source of negative dramatic criti- cism, especially in the sense that many writers have insistently pointed out that the change that occurs with- in Don Juan in this passage is too unrealistic and il- logical. 1 feel that these comments are unjust, for evidence is available in the play to demonstrate that this conversion is a logical deve10pment. Be that as it may, Zorrilla must have felt that it was a natural out- come, for in the refundici6n, the idea and motive behind the scene remained unaltered. The author presents this scene in the play in eight- syllable verse, and over the years these lines have come to be known as the "famosas décimas" of Don Juan Tenorig. In the revised work the major part of the scene consists of five and seven-syllable lines. He made this change in versification because this portion of the passage was intended to be sung as a duet. For this reason a compar- ative analysis of the poetic brilliance of the two pas- sages would not be valid; a study of their content, how- 151 ever, could be undertaken. Basically, the “escena del sof6" of the zarzuela emerges as a synthesis, or a summary, of the passage from the play. The principal, specific ideals included in the play version have been compacted and rendered in- to generalizations in the zarzuela. Zorrilla has Don Juan evoke a love feeling from specific elements of Na- ture; for example, he refers to the flores, agua, viento, all "respirando amor." He injects a form of personifica- tion in the ruisefior: ese dulcfsimo acento con que trina e1 ruisefior de sus copas morador, llamando a1 cercano dfa. (1.1V.iii) Love, according to the Don Juan of the play, springs from the fountains of Nature. To evoke this feeling, Zorrilla, through Don Juan, employs a sensorial element in this scene. For the auditive sense he calls on "esa armonfa que el viento recoge." He suggests the gustatory by stat- ing: y esas dos liquidas perlas que se desprenden tranquilas de tus’radiantes pupilas convidandome a beberlas. And the olfactory occurs in: esta aura que vaga, llena de los sencillos olores de las campesinas flores. These are examples of the sensuous qualities taken from the "escena del sof6" of the play. Upon redoing this scene for the zarzuela, the author shortened the entire 152 passage thus condensing each idea mentioned. In abridging the scene, he made an additional change in the poetical approach; that is, the change from the sensorial technique of the play to the conceptual quality of the zarzuela. Of course, this transition is the general pattern; he does, however, include very limited sensory suggestions, but these are in the minority. For example, the use of the conceptual appears in the following passage: El aire que se aspira se aspira aqui mejor, aqui todo respira felicidad y amor. (11.4.iv) This passage from the zarzuela appears fundamentally as a generalized declaration; and it is an archetypal exam. ple of the rest of the passage, for no attempt was made by Zorrilla to evoke openly the senses or to include ele- ments which would appeal to them. The following is one of the few zarzuela selections that verges on the senso- rial: Suave murmullo te da aqui e1 viento, trina el acento del ruisefior; te da aqui arrullo la agua que pasa, todo en mi casa respira amor. This passage, however, lacks the rich sensitiveness which predominates in the play version. As in the previous quatrain, one can see the repetition of the generalizing todo, and more especially of the quasi-refrain "todo res- 153 pira amor." This all-encompassing conceptual approach be- comes truly accentuated in this final example: todo existencia cobra este dia, todo, alma mia, respira amor. In this four-line passage we find the cnnceptual culmina- tion and summation, the poetic essence of the entire "es- cena del sof6" of the zarzuela. The idea of tgdg assuming or achieving its existence perfectly synthesizes the con- cept of the entire scene. Again the repetition of the refrain and of the word todo forms the crux of the quat- rain. The major innovation introduced by Zorrilla into the "escena del sof6" is found in the following passage: con tu presencia todo revive, todo recibe luz y calor. (11.4.1v) These words directed to Doha Inés by Don Juan stand as a definitely clear-cut foreshadowing of the role that she is to play in the last half of the zarzuela. Zorrilla did not even suggest or make an allusion to this feature of Inés in the play version or the escena. As was mentioned earlier in the discussion of this character, Zorrilla has identified In6s with that which is divine; he has endowed her with supernatural and celestial powers. This passage is a natural and logical antecedent of the intensively meaningful declaration that the sombga of Inés later pro- 154 nounces to Don Juan: "te abriré el cielo" (111.6.v). A minor innovation with regard to this particular scene is the extra time allowed before Luis and Gonzalo make their appearance. In the play version, Don Juan terminates the "escena del sof6" with the following com- ment: Sf; ir6 mi orgullo a postrar ante e1 buen comendador y, o habra’de darme tu amor 0 me tendra que matar. (1.1V.iii) Immediately after pronouncing these words, Don Juan is told that "un embozado" has come to see him. It is Luis, and he is later followed by "el buen comendador." In the zarzuela version of the same scene, Don Juan states: iQué porvenir tan fausto Dios abre ante mis ojos, mafiana ante el de hinojos dire al’comendador: da a Ines el holocausto de mi alma convertida; y o quitame la vida u otorgame su amor! (11.4.iv) Since in.the zagzggla this scene is done in the form of a duet, this passage is sung by Don Juan first, and then In6s repeats the selection in basically the same manner, with the only change being the replacement of the 19 forms with ii. The singing is followed by spoken parts, which continue in a vein identical to an earlier selec- tion in the scene of the play. After twenty-one lines of dialogue the arrival of the other characters is heard. Thus, in the zarzuela, this scene appears better construct- ed dramatically, for the announcement of the intent to 155 speak with Gonzalo and Gonzalo's arrival do not occur si- multaneously as they do in the-play. One final innovation made in the zarznela can also be pointed out. Zorrilla has reduced in a limited manner the fantastic and allegorical element of the play, espe- cially in the concluding act. In the play, Zorrilla in- dicated at the end of the final scene the following direc- tions: (Cae Don Juan a los pies de dofia Inés y mueren ambos. De sus bocas salen sus almas representadas en dos brillantes llamas, que se pier- den en el espacio a1 son de la mu sica. Cae el telén.) (2.III.iv) At the end of the cognate scene of the zarzuela, Zorrilla did away completely with all the stage directions, thus eliminating the fantastic representatinn of the gima§_and the allegoric fusion of their souls in the divine. In comparing the two Don Juan dramatic works of José Zorrilla, we see that with regard to physical elements the play and the zarzuela are comparatively similar. Mi- nor changes in scene sequence were introduced by the au- thor in composing the :efigndicién. His removal of sev- eral characters from the play necessitated the omission of some scenes and the reduction of others. To give the refundigién a true gagguela_flavor, Zorrilla altered the initial and concluding scenes of each cuadro by providing them with the musically appropriate chorus-dialogue. In the zggzgela, the author placed more emphasis on the real- JII [ (III I I. 156 ness of the protagonist, and he, through Don Juan, pro- vided an interpretation of action different from that of the play. The distinction made between the burlador and Don Juanism concepts as seen in the play and its refundi- gi§n_was also pointed out. With regard to definite in- novations, I have shown: (1) how the author purposely created a division in the cast of characters; (2) the important use of Ciutti and Jacarilla; (3) the correc- tion of small details; and (4) the major and minor changes in the famous "escena del sofa." CONCLUSION The Don Juan theme, or legend, appears constantly in life and art, and especially on the latter has it exercised a tremendous impact. The theme has been employed quite frequently as material for poetry, drama, and novel; its appearance in the zarzuela, however, has been greatly over- looked. This thesis is an attempt to correct the omission. In the nineteenth century, five writers employed the zarzuela as a means for conveying their interpretation of the Don Juan theme. Bret6n de los Herreros, in La§_gg§a§ de_an Juan, be- gan the use of the zarzuela, The interpretation given by Bret6n was a novel one from the point of view that the author avoided considerably the Don Juan tradition. In attempting to give new life to the figure, he fashinned a weak, contriving character. His technique in casting the personality was unique in that he allowed the major portion of the first act to pass before formally introduc- ing the protagonist. Thus, the reader and audience know of Don Juan before he appears, through the comments made among the other characters. Just as the protagonist is weak, his companion Vicente, is weaker. He could not equal in thought, action, or zest for life the companion of the Don Juan tradition; that is, he is no Catalin6n, Camacho, nor Ciutti. As I pointed out, however, the work does have the merit of being the first attempt at a gag, 158 zue;a_rendition of Don Juan. The second effort in the nineteenth century to adapt Don Juan to the musical-dramatic form was En_TgnQ;19 mg- gerng of Jose Nogués. This author did not attempt a di- rect transcription of the traditional Don Juan aspect, but rather he followed the innovating course of Bret6n. 0f the traditional trilogy, fig Tenggig mgderng came clos- est to Zorrilla's play, in that Nogués attempted to give a modern interpretation of the Romantic image. This Don Juan appeared forceful, as did Zorrilla's creation, and just as in the case of the latter, the active spirit of the Don Juan of Nogués became tempered. Also as in Zo- rrilla's work, Nogués included an ”escena del sofa." The work, however, differed from the point of view that No- gués created a burlador burlado. But perhaps more im- portant than the use of Zorrilla's work as a source of inspiration were the author's efforts to innovate the protagonist by converting him into a nineteenth-century lawyer, as well as his efforts to instill in his charac- ter an ability to respond favorably to modern life sit- uations. El convidado g2 piedra of Rafael del Castillo ex- panded upon the Don Juan zarzuela pattern. The Don Juan of this work was molded by Castillo to adhere strongly to Don Juan tradition. In fact, Castillo combined the works of Zamora and Zorrilla to create his Convidado. 159 ,However, in spite of the apparent dependence upon the two plays, Castillo did introduce a new element to the con- stantly developing theme. This author picked up the idea of Don Juan's redemption and injected into it a novel factor. That is, the salvation of Don Juan, through the powers of pure innocence and the intercessions of Inés, was further divided to incorporate Beatriz--ideal beauty, so that, for Castillo, salvation consisted not only of the ineffable, but also of the physical. The first chapter ended with a discussion of L§§_gg- cedades dg Don Juan Tenorig by Juan de Alba, who in a sense followed the traditional burlador image. He did incorporate a completely novel aspect into his work, and that was the fact that the action of Las mocedades was to occur one year prior to the action of the play Qgg_guag Tenorio by Zorrilla. Alba gave us the background factors which led to the year-long wager between Don Juan and Luis Mejia. In addition, Alba created a Don Juan which was to serve as a spokesman for the author; he was to offer Alba's criticism of the Inquisition, his disdain for foreign mon- archs, and his broad concept of honor which included 1;- Ilanos and nobles alike. Alba than, as was shown, resorted again to the traditional by allowing Don Juan to be saved by woman. In this case, woman entered to save physically the protagonist, whereas in Zorrilla's play Inés gained the spiritual salvation of Don Juan. 160 In these four zarzuelas, the general trajectory of their development of the Don Juan theme shows the tendency to go from the more original, more novel aspect of Don Juan to a more traditional approach. But even within the tradi- tional, the authors attempted to introduce a new element to add another aspect to the constantly developing tra- ditional image of Don Juan Tenorio. In Chapters II and III, I demonstrated that the ggfug- dicion, 22g Juan Tenorig, zarzuela, was the result of a long series of contradictory statements and situations. By quoting from some of Zorrilla‘s letters, it was shown that the author for more than ten years wanted to refundir his Don Juan play and that, at least on one occasion, through the use of subterfuge, he attempted to convince his editor of the need for the new Don Juan. At one time, he admit- ted having difficulty with the zarzuela as a genre, but stilL on another occasion, he rewrote his Don Juan.and converted it into a zarzuela. In the same contradictory vein, he announced that, before he would release the new Don Juan, he would publish the Leyenda. However, in spite of the fact that the Leyenda was never completed, he pre- sented his Q22 Juan Tenorio, zarzuela. Although the zarzuela followed closely the plan of the play, Zorrilla focused attention on additional novel facets of this personality. The new Don Juan was not the braggart that Zorrilla had created for the play. This new Don Juan did not need to base his superiority on past 161 deeds, because he insisted on being a man of action. Also I attempted to show that this zarzuela stood as the culmi- nation of the Dgnjuanista ideology. In discussing the work, I made a distinction between the burlador aspect and the Don Juanism interpretation in which I showed how the two facets developed from the Burlador of Tirso. I demonstrated that in addition to altering the pro- tagonist, Zorrilla changed the roles of Ciutti and Inés. The former was given more responsibility and was used by the author to help delineate the character of the protag- onist. Inés in the zarzuela took on a new appearance. In contrast to her part in the play, she assumed a more direct manner of action; she took on a role of her own and no longer served as a mere intermediary. In placing this emphasis on her, Zorrilla dwarfed the Inés of the play because the one of the zarzuela stood out as the embodiment of the Romantic feminine ideal. I have pointed out in this detailed study--in con- trast to the brief, caustic comments of other writers-- that the Don Juan Tenorio, zarzuela, dramatically speak- ing, stands as a much better constructed work than the play. In the zarzuela, Zorrilla condensed to the essen— tial all the action of the original work. To do this, the author discarded scenes which were extraneous to the development of plot and character, so that all action in the zarzuela leads to the conclusion of the work. Through :62 his extensive use of the plastic element and his under- standing of artistic balance and effect, through the cor- rectinn of certain scenes (Ciutti-brfgida; Luis-Gonzalo), and through his masterful demonstration of artistic sym- metry, Zorrilla, in the Don Juan Tenorig, zarzuela, man- ifested true dramatic maturity. Ill. ll‘lll.[[ll.l.l| In' Illilrl [.llulllnl] (. [1.l.-.ll\.(.l [..[Ifll II [I ‘l.’ Ill.( (.III\[ III. BI BLI OGRAPHY BIBLIOGRAPHY PRIMARY SOURCES CITED: Alba, Juan de. Las mocedades g; Don Juan Tenorig, Madrid, 1877. Bret6n de los Herreros, Manuel. Cosas g; Don Juan. Madrid, 1854. Castiléo, Rafael del. El convidado de piedra. Barcelona, 1 75. Nogués, José Maria. fig Tenorio moderno. Madrid, 1864. Tirso de Molina. "El burlador de Sevilla o convidado de piedra," Obras completas, II. Madrid, 1962. Zorrilla, José. "Don Juan Tenorio," Obras completas, II. Valladolid, 1943. . "Don Juan Tenorio, zarzuela, " Obras completas, II. Valladolid, 1943. . Don Juan Tenorio, zarzuela. Madrid, 1877. Don Juan Tenorio, zarzuela. MS. 14.570, Biblioteca Nacional, Madrid. . "Granada, poema oriental," Obras completas, I. Valladolid, 1943. . "Maria, corona poética de la Virgen,“ Obras completas, I. Valladolid, 1943. . “Recuerdos del tiempo viejo," Obras com- pletas, II. Valladolid, 1943. SECONDARY SOURCES CITED: Alonso Cortes, Narciso. Zorrilla: g3 vida y sus obras. Valladolid, 1943. Cervera, Francisco. "Zorrilla y sus editores, " Bibliogra- ffa hispanica, III (marzo 1944). Cotarelo y Mori, Emilio. Historia de la zarzuela 0 sea el drama lirico en Espaha desde su origen hasta fines del siglo XIX— Madrid, 1934. 165 Cotarelo y Mori, Emilio. Tirso dg Molina: investigaciones bfo-bibliograficas. Madrid, 1 93. DIaz-Plaja, Guillermo. Nuevo asedio a Don Juan. Buenos Aires, 1947. Egufa, Carlos. "Don Juan," zipos del teatro. Madrid, 1961. El Corresponsal (31 de marzo de 1844), p. 8. Farinellé, Arturo. Divagaciones hispégicas, II. Barcelona, 193 . Fernandez Brem6n, José. "Cr6nica general," La ilustracién espafiola x amerigana, XXI (8 de noviembre de 1877;, 282. Fernandez de Moratfn, Leandra. Orfgenes del teatro espafiol. Buenos Aires, 1946. Garcia Cadena, Peregrfn. "Los teatros," La ilustracidn espafiola x_amerigana, XXI (8 de noviembre de 1877;, 290. Gendarme de Bévotte, Georges. La légende g2 Don Juan. 2 vols. Paris, 1911. 1 Ibafiez, D. "El Don Juan Tenorio de Zorrilla," Ciudad g3 Dios (1921-1924). L6pez Nfifiez, Juan. Don Juan Tenorio en gl teatro, la:novela x_la poesfa. Madrid, 1946. Marafidn, Gregorio. "Notas para la biologfa de Don Juan," Revista dg Occidente, II, 15-53. Menéndez y Pelayo, Marcelino. Discursos fig critica histérica y literaria, VII. Santander, 1942. - Moorefield, Allen Sheram. An Evaluation 2: Tirso g2 Molina's "Burlador g§_§evilla o convidado gg piedra" with the - Origin and Development 2; the Qgg Juan Theme (unpub- lished thesis). University of Tennessee, 1944. Newmark,6Maxim. Dictionarz 9; Spanish Literature. New York, 195 . Nozick, Martin. "Some parodies of Don Juan Tenorio," His- pania, XXXIII (1950), 105-112. Palacios, Leopoldo-Eulogio. "Don Juan y la mujer diffcil," ABC (1° de diciembre de 1964), p. 3. Picatoste, Felipe. Don Juan Tenorio. Madrid, 1883. 166 Ramirez Angel, Emilio. José Zorrilla: biografiia anecdo- tica. Madrid, 1915. Revilla,’Manuel de la. "Revista crftica," Revlsta contem- Qoranea, XI (noviembre, 1877), 120. Sainz de Robles, Federico Carlos. Ensaxo g§.gg'dicciona- rio dg_;;teratura, 1. Madrid, 1949. Weinstein, Leo. The Metamorphoses g; Don Juan. Stanford, 1959- APPENDIX APPENDIX In this section of the present study I shall include the transcription of the Don Juan Tenorlg, zarzuela, and follow it with annotations on the text. It is imperative that the zarzuela be reproduced here it its entirety owing to certain variants that appear between the MS., the 1877 and the 1943 editions. I try here to establish a fairly definitive text; and in doing so, I have attempted to un- dertake a comparative study between the two editions of the zarzuela as well as between the zarzuela and the play Don Juan Tenogig of Zorrilla. The transcription of the work is based directly on the MS. 14.570 on file at the Biblioteca Nacional in Madrid. I have reproduced the zarzuela as it appears in the MS. No effort has been made to alter the orthography of the text; I have modernized the accentuation, however, basing my changes on the "Nuevas normas de prosodia y ortograffa declaradas de aplicacidn preceptiva desde 1° de enero de 1959" of the Spanish Royal Academy. I have numbered the lines of the transcribed MS. to facilitate the discussion of specific verses in the Notes. Within the text itself, the lines carried over verbatim from the Egg Juan Tenorio play of 1844 are preceded by an asterisk (*). Lines which convey an idea similar to certain verses in the play, but in which the vocabulary has been slightly altered, are denoted by a double asterisk. 169 Also with regard to these lines marked by the double asterisk, I have quoted in the Notes, for comparative pur- poses, the analogous line from the play. For the most part, notes of this nature will consist only of the quoted lines. The Notes will also be used to indicate the variants that occur between the KS. and the two published editions. I shall attempt to eXplain in the notes the differences involved in the variations, along with their effect on the work as a whole; and I shall speculate on the reason for the disparity. In addition, the Notes will contain the manner in which certain lines of the zarzuela were origin- ally written, but which were altered within the MS. it- self. And finally, the annotations will indicate entire passages which Zorrilla had intended to include in the work, but which he later deleted in the MS. Da Inés de Ulloa D3 Ana de Pantoja DON JUAN TENORIO, ZARZUELA PERSONAGES Sra. Franco de Salas(1) Srta. Galetti Jacarilla . . " Hordan Brf ida . Sra. Baeza Luc a . Srts. Branco (D3 J.) D. Juan Tenorio n. Luis Mejia D. Gonzalo de Ulloa Sr. Dalmau Sr. Ferrer Sr. Banquells D. Diego Tenorio Sr. Abella Ciutti . . Sr. Jormo Un Escultor . Sr. Artubeitia Estudiante 1° Sr. Mora Id. 2° . Id. Un Caballero(2) Sr. Bernus Sr. Martinez Sr. Mohino 0 O O O O 0 O O O O C C O O O C O C O O O O O O Estudiantes, caballeros de Calatrava, cuadrilleros, algua- ciles, enmascarados, etc., etc. Acto primero Cuadro 1? El burlador de Sevilla Jardin de la casa de los Tenorios, que se supone colocado entre el edificio de la En- comienda y el de la casa de los Tenorios. A la derecha la Encomienda, y a la izquierda la casa. Ambas tienen un postigo que da a la escena en Ias primeras cajas: estos pos- tigos deben tener portadas o chambranas, que cuadren las figuras de D. Gonzalo y D. Diego. En el fondo un muro con dos grandee verjas, en cuyo centro macizo se representara una fuente, cascada, ruta o cosa que tenga re- mates y gradas. Vean los directores las notas g__ van al fin.) (37 En este jardfn todo debe estar —colocado en escotillones para el cambio de decoracién. 171 Escena I D. Juan, Ciutti, coro de comendadores, caballe- ros, pueblo, estudiantes, militares, majos y jitanos. Es de noche. En el centro de la escena hay una mesa preparada para dos personas, dos copas y un jarro, todo de plata. En la mesa esta escribiendo D. Juan, Ciutti tras el y a un lado de la mesa, de cara a1 publico, espera a que D° Juan concluya de escribir.A1 levantarse el te16n, se oye dentro gran ruido de mascaras, gritos, vihuelas, etc., etc. , y estan agrupados a las dos verjas el coro de comendadores, caballeros y pueblo,a ala de la derecha, y el de estudiantes, militares, majos y jitanos, a la de la izquierda. Musica Todos: iEl es! :61 est. Poned en el suelo con tiento los pies. Estudiantes: Aqui ha de venir D. Luis(4) a su vez, y toda Sevilla tiene hoy interes, tan brava y estrema polémica en ver. Comendf: Aqui ha de venir D. Luis a su vez, y toda Sevilla tiene hoy interes tan bravo e infame escandalo en ver. Todos: IE1 es! iél es! Pongamos en tierra con tiento los pies. Estudf: Afin no son las ocho; dejemos que den; estemos alerta; volvamos después. iEl es! iel es! Que sepa al volver que los estudiantes estemos por el. 10 15 2O 25 IIII'I II" ‘1' [I'll ll ll [“I‘ll‘ I I'll! lull . I'll I'll- III. III I | I] ll. 172 Comend.: Aun no son las ocho; dejemos que den; estemos alerta; volvamos despues. iEl es! 181 es! Que sepa a1 volver que el clero y los nobles estan contra el. Todos: 1E1 es! 161 es! Aun no son las ocho; volvamos despues. (Vanse y vuelve a oirse el ruido de las mascaras, vihuelas etc., etc.) Escena II. D. Juan, Ciutti . Hablado *D. Juan: iCual gritan esos malditos!.. *Pero mal rayo me parta **si en acabando la carta(5) *no pagan caros sus gritos. (PausaJ No hay mas medio; es necesario: 0 el 0 yo. Firmo y plego. *--1Ciuttil Ciutti: *JSefior?.. D. Juan: *Este pliego *ira dentro del horario *81 que reza Da’ Ines, *a sus manos a parar. Ciutti: *JHay respuesta que aguardar? D° Juan: *Del diablo con guardapiés *que la asiste, de su duefia, **que mis intenciones sabe, (6) *recogeras una llave, *una hora y una sefia; *y mas ligero que el viento, *aquf otra vez. 3o 35 40 45 SO Ciutti: Juan: Ciutti: Juan: Ciutti: Juan: Ciutti: Juan: Ciutti: Juan: 173 *Bien esta. 55 Mas si su merced me da venia. . . D1. En 10 del convento tened mucho ten con ten: la gente es supersiticiosa, y asaltar un claustro, es cosa 60 que nadie os tomara a bien. LEI diablo a predicador se mete? Es parecer mio: obrad a vuestro albedrio. tTienes miedo? ch, sefior? 65 Do quiera 03 he de seguir; con vos me he de condenar, o la gloria he de alcanzar con vos despues de morir. Pues déjame a mi ir delante 70 y ten, Ciutti, muy presente que a mi no hay bicho viviente que en esta vida me espante. De la otra no creo nada: zanjo en ésta por entero 75 mis cuentas, con mi dinero, mis empefios, con mi espada. Con que no hay lugar sagrado ni hombre inmune para m Lleva el papel que te di 80 y allaname este atentado. Vuestro padre y la Encomienda llevaroslo nan muy a mal. No admito mayor ni igual que mande en mi ni en mi hacienda. 85 El primogénito soy y en mi familia es notorio que este es el primer Tenorio:(7) yo cuentas a nadie doy. Mientras anduve en destierro, 9O sobre mi la primacia pretendid tomar Mejia, y hoy le haré ver que fue yerro. Ciutti: D. Juan: Ciutti: D. Juan: Ciutti: D. Juan: Ciutti: D. Juan: Ciutti: D. Juan: Ciutti: D. Juan: Ciutti: D. Juam: Ciutti: 174 Pues por si 61 viene uiza antes que yo, ahi teheis lo menester. JMas vendra de cierto? No 10 dudéis; a las ocho aqui estara. Mas no solo. tA quién traera? Justicia, nobles y majos estan contra vos. ’ A tajos los recibire. Es que esta la universidad entera y la gente de milicia contra ellos, y la justicia por nosotros. &D6nde? Ahi fuera. Es decir que la partida esta igualada. Y tenemos en dos, por sus cuatro estremos, a Sevilla dividida. Pues a los pages prevén que a1 dar las ocho, Ias puertas abran. Estaran abiertas en cuanto las ocho den. Sevilla me desterré por un afio; cumplié ayer; mas hoy va Sevilla a ver que he vuelto a Sevilla yo. Ve, ues, y gana de paso de D. Ana de Pantoja a la sierva. . JSe os antoja tambien? 95 100 105 110 115 120 D. Juan: Ciutti: D. Juan: Ciutti: D. Juan: Los dos: 175 Va a ser bravo caso. La sierva es mia. iTuyal..1Ah!..(8) Por supuesto: es una puerta por mi para vos abierta. 125 iBravo, Ciutti!.. 1J5: 1Jé1 1Jé1 Escena III. D. Juan Predicame la moral, pero con su fe italiana ante mis pasos allana todas las vias del mal. 130 Llevando esa maravilla de los pages por delante, no va a haber quien se me plante por delante a mi en Sevilla.(9) Tengo unos instantes mios 135 aun: voy a dar un vistazo y un buen estirén al brazo, si doy con gente de brios. (Vase por la (10) Escena IV. D. Gonzalo, por el postigo de la dere- cha y D. Diego por el de la izquierda. D. Diego: Gonz: D. Diego: Gonz: lVos? Yo. Juzgad si me pesa que le espiéis. Sin rebozo: 140 juzgad 31 lo que es el mozo sondear a mi me interesa. iYa veis!.. Diego: Gonz: Diego: Gonz: Diego: Gonz: Diego: Gonz: Diego: Gonz: Diego: Gonz: 176 Con sonrojo grande. Y en vuestra casa?... Es ingénito e1 vicio en 61: es primogénito empero, y no hay quien le mande en su casa ya; es mayor y tiene heredadas rentas de las que no debe cuentas a nadie.(11) &A 61 superior ni aun vos sois ya? No: es costumbre y ley ennuestro solar. aMas sabéis a qué va a osar? Lo sabré con pesadumbre si me lo queréis decir; pues aun no me quiso ver y mas de él por no saber, nada de 61 uise inquirir. Por un balcon al mirar, vi ue tenia dispuesta aqui, yo no sé qué fiesta y me bajaba a enterar. (12) Pues un infame cartel ha enviado a D. Luis Me'ia, que en los vicio primac a lograba en ausencia de el. éQué en él decia? Contabale sus fechorias de un afio, y en cambio e1 relato estrafio de las suyas demandabale. iPara qué? Para pesar quién de ambos con mas mancilla vivié, y quién solo en Sevilla de los dos ha de campar, como rey de los rufianes, los bravos y los matones cometiendo sinrazones, atropellos y desmanes. 145 150 155 160 165 170 175 Diego: Gonz: Diego: Gonz: Diego: Gonz: Diego: Gonz: Diego: Gonz: Diego: Gonz: (Suenan campanas a lo lejosy vaden la escena repitiendo los ultimos 177 Tal vez desahogos son de mozos ricos y ociosos. No: crimenes de viciosos viles y sin corazon. iD. Gonzalo! Desde luego, y mientras puedo sus actos juzgar, suspendo los pactos que hechos tenemos, D. Diego. éQué queréis decir? Que si es tal como 1e hacen, desde hoy me vuelvo atras: yo no doy tal marido a mi hija Inés. Ni yo, por mas que me aflija, si es tal como le creéis, as he de exigir que deis a monstruo tal vuestra hija. Mas un padre, D. Gonzalo, por malo que un hijo sea, duda siempre, aunque lo vea, que sea su hi 0 tan malo. Su boda con D Inés nuestra enemistad cortaba de dos siglos.(13) Io anhelaba. Vemos si aun posible es. Ocultémonos. . Mejor sera. Y pues el Carnaval al hombre mas principal permite sin deshonor de su linage, que emplee el antifaz, ocultemos nuestro rostro, y esperemos que su alma D. Juan franquee. compases del primer coro. ) los coros in- 180 190 195 200 205 210 178 Escena V. D. Gonzalo, D. Diego, Jacarilla y estudian- tes con vihuelas, panderetas etc., por la verja izquierda. Comendadores, caballeros, etc., por la derecha.(14) Todos: Comend: Jacarilla: Estud: Jac: Musica. Entrad, entrad, ya es hora. Muy pronto las ocho daran. Entrad, entrad. Entra, muger(15) éPor qué temer, nifia querida de D. Juan ayer? Ven a dar la bien venida con nosotros a D. Juan; canta mientras y descuida, te echaremos e1 refran. Esa muger equién puede ser mas que querida deshonrada ayer? Viene a dar la bien venida con aquellos a D. Juan, alma vil que cae rendida en los brazos de Satan. Nada temo, protegida por vosotros como estoy, y a D. Juan que me las pida honra y vida se Ias doy. Bravo, perla de Sevilla, flor de lis, mont6n de sal! Canta, canta, Jacarilla, y que pique tu cantar. Amparadme si levanto con mi canto un huraca. 11115 val no hay muger fea o linda que si le ve y le escucha no se le rinda. Y hombre que a D. Juan detesta es de D. Juan por envidia; 215 220 225 230 235 240 245 179 porque gana cuando apuesta, porque vence cuando lidia. Por eso van(16) los hombres y las hembras tras de D. Juan. Coro: (Dentro.) Oja alerta vivid, sevillanas; Coro: avizor desde el noble al rufian; bien Ias puertas guardad y ventanas que ya ha vuelto a Sevilla D. Juan. Estud: Otra copla, Jacarilla, que las ocho van a dar y tal vez se va Sevilla en Babel a transformar. Jac: 11115 val De ellas es el capricho, de ellos el bu y el coco; (17) lo dicho, dicho. Quien ante D. Juan se pare ya con oro, ya con hierro, que el testamento prepare y que disponga e1 entierro. (18) Todos iran(19) a caer, hombres y hembras, ante D. Juan.(20) (Dentro.) Ya es hora de la cita; ya a1 caer las ocho estan. . 1Santa Barbara bendita1.. iAlli vienen! iAlla van! Jac: Monjes, nobles y pecheros a las ocho...iel huracan1.. 1Todo el mundo, caballeros, para atras. ..las ocho danl. EscenaVI. Dichos, D. Juan y D. Luis, con antifaces; Gaston, Ciutti y pueblo. (Empiezan a dar las ocho. El coro de den- tro se agolpa a las verJas. Al dar la ultima.campanada, D. Luis por el lado de los comendadores y D. Juan por el de los estudiantes, entran en escena. El coro de comendadores se queda en el fondo, de- tras del pueblo. D. Gonzalo y D. Diego escuchan inm6viles y enmascarados, en- cuadrados como dos estatuas, dentro de los 250 255 260 265 270 275 **D . 180 marcos de los dos postigos. La luna alum- bra la escena, y algunas antorchas en manos de actores. -Silencio general.- D. Juan y D. Luis se adelantan a la mesa, cada cual por su lado, y van a ocupar las dos sillas.) Hablado. Juan: Esa silla esta guardada,(21) *hidalgo. Luis: De las dos, una, 280 10 ha de estar, sin duda alguna, para mi. Juan: Guardai s tapada 1a faz mientras lo decis. Luis: 6N0 os fiais? Juan: No. Luis: Yo tampoco. *Juan: Pues no hagamos mas e1 coco... 285 **Soy D. Juan. (Se descubre.) Luis: Yo D. Luis.(22) (Admiraci6n general. Unos rodean a D. Luis, otros a D. Juan, entre estos la Jacarilla.) Estud: iSefior D. Juan, bien venido! Cab: iSefior’D. Luis, bien hallado! No cejeis. Luis: Nunca he cedido! 290 (Mientras D. Luis abraza, da la mano y habla con los suyos y los estudiantes forman gru- po animado por su banda, hablanse aparte la Jacarilla y D. Juah. D. Luis les observa de reoJo.) Jac: Todo el afio te he esperado. Juan: Doce meses has perdido: mas mereces las primicias de mi largueza rumbosa. Ten. (La ofrece un bolsillo.) Jac: 60ro? Juan: Jac: Juan: Jac: Juan: Jac: Juan: Jac: Juan: Jac: Juan: Jac: Juan: Jac: Juan: Jac: Juan: 181 sf. Es otra cosa lo que yo quiero en albricias. 295 I JQue? ’ Sitio en’tu coraz6n. Solo un rincon. Toma el oro. No. 6Me amas afin? Te adoro. iQué lastima!.. . I cCorazon no traes? 300 Era la mas r6111 de las prendas que tenia, y la suprimi un buen dia I como una viscero (sic) inutil. 1D. Juan! Con agua pasada no muele molino: ten. 305 No: rezar6 por tu bien. A Dios. iValiente bobada! Acepta el oro y no reces. éQue he de hacer yo con tus preces? 310 JPues no crees en Dios? En nada. (Se guarda al bolsillo y volviendo la espalda a Jacarilla dice a D. Luis:) Luis: Dispensadme. No hay por qué: tras tanta ausencia... Mas pienso que os ha dejado suspenso la conversaci6n. Juan: Luis: Juan: Luis: Juan: Luis: 182 iSi, a fe! 315 lQué cualidad tan estrafia tiene la muger que quiere!.. aCuél?.. Que ama hasta que se muere al primero que la engafia. -Pero el tiempo no perdamos, 320 pues que a la cita acudimos ambos a tiempo. Sepamos, pues, alo que aqui vinimos. Bebamos antes. Bebamos . (Pages sirven vino pasando grandes bandejas con copas, escanciandolo en ellas con ja- rrones de plata. D. Juan y D. Luis beben sentados. D. Juan escancia a D. Luis.) Juan: Luis: Juan: Tal vez mi largueza abusa, 325 D. Luis, de vuestra paciencia, mas me abona la escelencia de este viejo Siracusa. (23) Cualquier cuesti6n queda coja, segfin se cree en esta tierra, 330 81 en algo no se remoja: quedemos en paz 0 en guerra... mas bebed, si no as enoJa. Bebed, sin miedo a traici6n: que, aunque viejo e italiano, 335 no tiene mala intenci6n mi vino, y yo de antemano voy a haceros 1a raz6n. (Bebe.) Yo no temo villania ni traicion en vuestra casa.(24) 340 Veréis que hacéis bien..Mas pasa e1 tiempo..Por vida mia, caballeros , yo supongo que ucedes vienen aqui por uno u otro, y por mi 345 a hacer bando no me opongo. Mas debo. --y a prevenir voy a contrarios y a amigos,-- que a ui no hay mas que testigos y aqu nadie ha de nefiir. 350 Todos: Juan: Todos: Juan: Luis: Diego: 183 La hospitalidad que day a D. Luis y a todos, quiero d6rosla.amplia, por entero y leal como quien soy. La cuesti6n as personal; mia y de D. Luis, citado por mi a ella; es un sagrado mi casa, y por desleal por ambos ser6 tenido y ambos demos por villano, a1 que eche al acero mano de ella antes de haber salido. D. Luis y yo nos pondremos sobre las ies los puntos y amigos, saldremos Juntos y enemigos, partiremos cada cual por nuestro lado; aceptando un plazo breve para que cada uno lleve sus asuntos a su agrado. Todo ardid, trampa o malicia ser6 después muy buen juego, escluyendo desde luego la ayuda de la justicia. Porque no siendo la humana m6s que una vieja villana que anda en busca de dineros, Justo es que los caballeros la zurremos la badana. iBien dicho! icuenta redonda! Do quiera que nuestra huella siga o ataje una ronda, todos a una y a ella. 6A0ept6is? sf. Que se salga quien rehuse. aNadie chista? Pues a quien Dios no le asista su buena mafia le val a. Ea, acérquense y esten atentos. aPor qu6 est6n lejos esos dos? LVos? (A D. Diego.) aqui. Yo estoy bien b4 U] \H 360 365 370 375 380 385 390 Luis: Gonz: Luis: Juan: Luis: Juan: Luis: Juan: Luis: Juan: Luis: Juan: Luis: Juan: Luis: Juan: Luis: Juan: 184 &Y vos? (A. D. Gonzalo.) Yo aqui también. aQuién ser6 este par de vieJos? Doble ejemplar de un fantasma. iVaya un par de hombres de piedra! LPor miedo a cuentos afiejos vuestro valor se desmedra tal vez? 395 No: LY a vos? nada me pasma. Nada a mi me arredra. Pues adelante. 01d, pues. Aqui ayer os he citado, porque en Sevilla as he hallado puesto en mi Sitio. 400 Asi es. Y me enviasteis con la cita vuestra historia en relaci6n, a la cual contestaci6n 03 di con la mia escrita. 405 Dos relatos superiores. LSoberanos! iEstupendos! No los oyeron mejores los claustros m6s reverendos de bocas de relatores. Contémoslos si es parece y juzguen quien m6s merece de los dos, estos sefiores. 410 415 No har6 yo relato tal, D. Luis. Pues yo empezaré. vos tampoco. Haremos mal aqui en publico... Luis: Juan: Luis: Juan: Luis: Juan: Luis: 185 aPor qu6? Porque lo que encierta fecha y en 6poca de capricho fuera cuanta muy bien hecha, hoy 1a cuenta es m6s estrecha. Porque nuestros dos relatos(25) son dos tejidos de absurdos, que nos dan por mentecatos, asombro de pelagatos y admiraci6n de palurdos. Y siendo mozos capaces de hazafias de loa eterna, apor qu6 parecer procaces dos rufianes lenguaraces barateros de taberna? Creo que ten6is raz6n: personas como nosotros no deben m6s que en acci6n mostrarse, no on relaci6n para entretener a otros. Pues entonces se reduce nuestra cuesti6n s6lo a esto: de los hechos se deduce(26) que hay ocupar os seduce en Sevilla el primer puesto. sf. Pues yo que por doquier ni en nada quiero tener rival, ni ser el segundo: que con desprecio profunda por quien puede alga creer, *por donde quiera que fui *la raz6n atropellé, *la virtud escarneci, *a la justicia burlé *y a las mugeres vendi **y a las cabafias ba36(27 **y a los palacios subi(28) **y los claustros escalé(29) *y en todas partes dejé *memoria amarga de mi; tengo D. Luis, a mancilla que nadie se me equipare y he aqui la cuesti6n sencilla: mientras yo en Sevilla pare yo soy el rey en Sevilla. Yo no atento a1 rey ni a Dios: 420 425 430 435 445 450 455 460 186 mas sin blasonar de rey quiero aqui ser mas que vos. Juan: Pues sobra uno de los dos. Luis: Pues en lid de buena ley pesemos nuestros derechos pesando nuestras acciones. Juan: Dejemos las relaciones escritas; y antes que a hechos, vamos, D. Luis, a razones. *Luis: Decis bien. Cosa es que est6, *D. Juan, muy puesta en razén, tanto m6s, que en conclusi6n **muy poco a mi ver ir6(30) *de una a otra relaci6n. Todo el mundo sabe aqui **que cual vos, por donde fui(31) *la raz6n atropell6, *la virtud escarneci, *a la justicia bur16 5y a las mugeres vendi. *Mi hacienda llevo perdida *tres veces; mas se me antoja ¥reponerla y me convida *mi boda comprometida *con Da Ana de Pantoja. *Muger muy rica me dan *y mafiana hay que cumplir *los tratos que hechos est6n; *lo que os advierto, D. Juan, *por si queréis asistir. Juan: No 10 olvidar6 en verdad. Luis: Gracias: mi papel mirad; **por unalista apartados(32) **est6n los nombres sentados(33) *para mayor claridad. *Juan: Del mismo modo arregladas **mis cuentas os di en el mio: (34) *en dos lineas separadas *los muertos en desafio *y las mugeres burladas. *Luis: Es increible, D. Juan.(35) Juan: Ya lo veis; son relatadas nuestras obras como est6n, no m6s que fanfarronadas 465 470 475 480 485 490 495 500 505 Luis: Juan: Luis: *Juan: *Luis: *Juan: *Luis: Juan: *Luis: *Juan: *Luis: Juan: *Luis: 187 que por nadie se creer6n pues se 03 hacen hasta a vos increibles. Las admiro; no las niego. Entre los dos queden. . iCu6nto m6s lo miro mas me asombro y ivive Dios! **que vuestra Lista es caba1!(36) Desde una princesa real *a la hija de un pescador; *ioh! ha recorrido mi amor *toda la escala social. iPor Dios que sois hombre estrafio! *60u6ntos dias empleais *en cada muger que améis? Partid los dias del afio *entre les que ahi encontr6is. *Uno para enamorarlas, %otro para conseguirlas; wanna para abandonarlas,(37) *dos para sustituirlas *y una hora para olvidarlas. *aTenéis algo que tachar? S610 una os falta en justicia. 6Me la pod6is eefialar? Si, por cierto: una novicia *que est6 para profesar. iBah! Pues yo os complaceré *doblemente, porque os digo *que a la novicia unir6 *la dama de algun ami o *que para casarse este. iPardiez que sois atrevido1 Yo os lo apuesto si quer6is. Digo que acepto e1 partido. **&Para darle por perdido(38) qu6 plazo me pr0pon6is? 510 515 520 525 530 535 540 Juan: Luis: Juan: Luis: Juan: Luis: Juan: Luis: Juan: *Luis: *Juan: *Luis: *Juan: *Luis: *Gast6n: *Luis: *Juan: *Juan: Luis: Gast6n: Ciutti: 188 Un dia y aun no cumplido. Pocas horas. 60u6ntas? Seis. 545 Deciais bien, son bravatas propuestas tan insensatas. LNo vais a casaros?(39) sf. Pues no hay en mi cuenta errata.(40) Vos me dais el plazo a mi. 550 No os comprendo... ’ Hablando claros, *pedir mas no se me antoja, *porque pues vais a casaros *mafiana, pienso quitaros *a Da Ana de Pantoja. 555 Don Juan, aqu6 es lo que decia?(41) D. Luis, lo que oido hab6is.(42) Ved, D. Juan, lo que emprendéis. Lo que he de lograr, D. Luis. 6Gast6n? LSefior? Ven ac6. 560 LCiutti? asefior?(43) Ven aqui. Corre y a Da Ana di. . . (Le habla a1 oido.) Est6 bien. (Vase.) No llegar6. (Vase.) *Luis: JEst6is en lo dicho? *Juan: *Luis: Juan: Gonz: *Juan: *Gonz: *Juan: *Gonz: *Juan: *Gonz: **Juan: *Gonz: *Juan; Diego: 189 15f: 6Va la vida?(44) Dicho est6. 565 (Adelant6ndose.) *ilnsensatos! iVive Dios, *que a no temblarme las manos, *a palos como a villanos *os diera muerte a los dos. Por Satan6s, viejo insano, 570 *que no 56 c6mo he tenido *calma para haberte oido *sin asentarte la mano. *Pero di pronto qui6n eres, **porque hombre soy capaz(45) 575 *de arrancarte e1 antifaz *con el alma que tuvieres. 1D. Juan! iPronto! Mira,pues. 1D. Gonzalo! El mismo soy. *Y a Dios, D. Juan, mas desde hoy 580 *no penséis en Da Inés. iBah! Pues hay tiempo, advertir(46) *os quiero a mi vez a vos(47) *que, 0 me la dais, 0 par Dios *que a quit6rosla he de ir. 585 iMiserable! Dicho est6: *s6lo una muger como ésta *me falta para mi apuesta. *Ved, pues, que apostada va. (Adelant6ndose. ) *No puedo m6s escucharte, 590 *vil D. Juan, porque recelo *que hay algun rayo en el cielo *preparado a aniquilarte. *Sigue, pues, con ciego af6n *en tu torpe frenesi: 595 *mas nunca vuelvas a mi; *no te conozco, D. Juan. *Juan: *Diego: *Juan: *Diego: *Juan: *Diego: *Juan: *Diego: *Juan: *Diego: *Juan: *Todos: *Diego: *Juan: *Diego: *Juan: *Diego: *Gon: *Diego: 190 &Qu16n nunca a ti se volvi6, *ni qu16n osa hablarme asf, *ni qué se me importa a mi *que me conozcas o no? 600 A Dios, pues; mas no te olvides *de que hay un Dios Justiciero. Ten. £Qu6 quieres? Verte quiero. Nunca; en vano me lo pides. 605 aNunca? iNo! Cuando me cuadre. &Como? iAsf! (Le arranca e1 antifaz.) iD. Juan! iVillano! *Me has puesto en la faz la mano!.. iV61game Cristo! iMi padre! iMientes, no lo fui maj6s! 610 iReportaos, con Belcebfi! No; los hijos como t6 *son hijos de Satan6s. *Comendador, nulo sea #10 hablado. Ya lo es por mi. 615 *Vamos. Sf, vamos de aquf *donde tal monstruo no vea. *D. Juan, en brazos del vicio *desolado te abandono: *me matas...mas te perdono *de Dios en el santo Juicio. 62o (Vanse los dos poco a poco.) 191 *Juan: Largo e1 plazo me ponéis; amas ved que os quiero advertir **que no 05 he ido yo 6 pedir(48) *jamés que me perdonéis. 625 *Conque no paséis af6n *de aquf adelante por mf, *que como vivi6 hasta aqui *vivir6 siempre D. Juan. Escena VII. Dichos, menos D. Gonzalo y D. Diego. *Juan: iEh! Ya salimos del paso: 630 *y no hay que estrafiar la homilia; *son p16ticas de familia *de las que nunca hice caso. *Conque lo dicho, D. Luis: *van Da Ana y Da Inés 635 **en puesta.(49) *Luis: &Y e1 precio es *la vida?... *Juan: Vos lo decis. Ahora por los dos estremos opuestos, fuera, y el breve plazo que hay aprovechemos. 640 Luis: £Hasta cu6ndo? Juan: Hasta las nueve. Luis: $D6nde? Juan: Donde nos hallemos. *Luis: Satisfecho quedaré *atmque ambos muramos. -Vamos.(50) *Juan: Conque, sefiores, quedwmos 645 *en que la apuesta est6 en pie. (Vanse cada uno con los suyos por distinto lado.) Mfisica. Estud: £Qu6 fin tendr6n los dos en la apuesta? Yo voy por D. Juan. 192 Cab°: Pondr6 buen fin 650 D. Luis a la apuesta: yo voy por D. Luis. F1n.de1 cuadro. Acto primero. Cuadro 2°. Serenata y pendencia(51) Plaza. En el fondo e1 esterior de la casa de Da Ana, vista por una esquina. En las dos paredes que forman el 6ngulo, hay en la de la izquierda una reja y en la de la derecha(52) una puerta” ambas practicables.(53) Escena I. Coro de estudiantes con guitarras, espadas y pistolas al cinto. Mfisica. Vela y estate alerta, nifia, en tu casa. Ten abierta 1a puerta, 655 que el amor pasa. Dale guarida, que la busca, y despierta si est6s dormida. fibrele, de los ojos 660 luz y embeleso, o a romper tus cerrojos va con un beso. Abre tus hojas a1 amor, azucena 665 de los Pantojas. Escena II. Dichos y Ciutti. Hablado. Ciutti: Estud: Ciutti: Estud: Ciutti: Estud: Ciutti: Estud: Ciutti: Estud: Ciutti: 193 iQu6 demonios de estudiantes! £Qu6 hacéis ahf? Pues 1a damos serenata. 6N0 quedamos en eso? Pero no antes de que aqui D. Juan llegara. &Y si 03 hubiera cafdo D. Luis? &Pues hemos venido sin espadas? Aqui hallara con quien hablar. iIndiscretos! Si a Da Ana avizoramos, e1 plan de D. Juan frustramos. &Cu6l es? No s6: sus secretos no escudrino yo jam6s: 61 manda y le sirvo y callo; con 61 a pie y a caballo voy siempre; mas de 61 detr6s. No creimos mal hacer. Para andar en su servicio hay que hacerle el sacrificio de la voluntad y ver, air, callar y esperar a que 61 disponga y ordene; porque el que paga es quien tiene el derecho de mandar. Nosotros, por muy felices en asistirle nos damos, pues por su garbo le amamos todos. Mas por lo que dices, Lpasar6s la pena negra con 61?.. No tal: en su casa no hay quien ponga a nada tasa: no tiene ni ayo ni suegra, ni madrastra, ni heredero, ni capell6n... Ni a su madre cnnoci6, ni es ya su padre m6s que a la izquierda un cero(54) para D. Juan. y ee vive 670 675 680 685 690 695 700 Todos: Ciutti: Estud: Ciutti: Estud: 194 con 61, se bebe y se come sin que nos d6 ni se tome la pesadumbre m6s leve. De nada se 16 da nada; ni cree, ni teme, ni espera: gozar as an ley primera, su ultima raz6n 1a espada. No hay zambra en que no se halle: con intrigas por docenas atravesar puede apenas sin refiir por una calle; y es su condici6n tan brava y tan feliz es su estrella, que lleva tras de su huella la fortuna por esclava. Millionario, a nadie debe; su page y su mayordomo(55) yo, de lo que come como, bebo del vino que bebe; de cuanto posee dispongo, gozo de cuanto 61 disbruta, y como jam6s disputa por las cuentas que le pongo, de sus rentas participo: con lo que 61 derrocha, ahucho; y como hay de todo mucho, con su equipaje me equipo: me paseo en sus caballos, me miman sus damas bellas, me regalan sus doncellas y en los trucos y en los mallos me pavoneo, enamoro, convido, humillo y conquisto como D. Juan: bien provisto e1 bolsillo siempre de oro llevo para lo que ocurra, y ando con 61 de bureo dfa y noche. Conque creo que nada hay por que me aburra. LGran vida! No hay que decir que sea canonical; mas entrarle a 61 a servir es entrar en su caudal. S6lo hay una contra. I £Cua1? Que con 61 hay que salir. £Y qué? 705 710 715 720 725 730 735 740 745 I'll ' llllll 195 Ciutti: :Y qué? Que en la vida en casa ninguna entramos 750 por la puerta, sin que hagamos por el balcén 1a salida: y en las que a fuerza de brazos entramos por escalada, salimos siempre a trompazoa 755 haciendo llave la espada y la cabeza pedazos. Coro: iJ6! 1J6! Ciutti: Conque pues venis a servirle, ya sabeis el salario que tenéis 760 con 61: la vida en un tris. Todos: 1J6! 1361 1361 Ciutti: iSilencio! iEl es: allf viene! Id a ocultaros y alerta! ’Yo ir6 a llamaros cuando hagais falta despues. 765 Escena III. D. Juan y Ciutti Juan: &Ciutti? Ciutti: &Sefior? Juan: LY Gast6n? Ciutti: Encerrado en la bodega. Juan: &Y D. Luis? Ciutti: A qué se juega ignora, y contestacion con el de Da Ana aguarda: 770 mas en cuanto se aperciba del juego, vendr6 y... Juan: ‘ Y muy tarda ~ tiene la imaginativa segfin lo que se retrasa. Mas antes de que con gente 775 0 sin ella se presente, he de entrar yo en esa casa. Ciutti: Juan: Ciutti: Juan: Ciutti: Juan: Ciutti: Juan: Ciutti: Juan: Ciutti: Juan: 196 Tiene tras de aquesta reja Da Ana su habitacién. Llamémosla la atenci6n con un cantar. Si se deja ver... No as conoce: fingfs que vais de D. Luis en nombre y urdid marafia... Sois hombre que en un pelo las urdia. Bien. &Y 81 no abre Da Ana? En la otra calle est6 alerta Lucia, y esta la puerta muy cerca de su ventana. Es,Ciutti, una idea buena; mas 81 D. Luis llega en tanto que yo a su paloma encanto con un cantar de sirena, no perdamos lance y fama por un descuido, ipardiez! Soplémonos de una vez, Ciutti, e1 peén y la dama. Escucha: tu, a fuer de ronda, con unos cuantos de brios, tras de la casa escurrfos dando vuelta a la redonda. Solo 0 con mil, por delante le atacaré yo: t6 aprietas con tu gente y le sugetas por detr6s y en el instante en que en medio del tumulto por la espalda me le cojas, con 61 esguivas el bulto y con Gast6n le encerrojas. 6Y vos? (Sonriendo.) De miedo me oculto en casa de los Pantojas. iSoberbio! Cuando se trata de urdimbres por este estilo, no hay como vos. Queda un hilo suelto. 1.01161? aY la beata? 780 785 790 795 800 805 810 815 Ciutti: Juan: Ciutti: Juan: Ciutti: Juan: Ciutti: Juan: Ciutti: Brig: Juan: *Brig: *Juan: *Brig: **Juan: .*Brig: Juan: *Brig: *Vos sf que sois un diablillo... 197 Ese hilo est6 ya anudado con la llave del jardfn que la he arrancado al fin, de doblas por un pufiado. bSin m6s instrucci6n ni sefia? 820 Dido que venfa en pos de mi, a arreglarse con vos. iAh culebr6n!.. aDe la duefia, sefior, hay prueba evidente de que es criatura humana? 825 No, Ciutti; probablemente desciende de la serpiente que dio a Eva la manzana. Sefior; que por alli asoma un bulto que se aproxima. 830 Y es muger".. Sf es ella... iToma!.. en nombrando al ruin de Roma.... Escena IV. Dichos y Brfgida. aEs D. Juan? Sf; e1 bulto arrima. **L1ega, que D. Juan soy yo.(56) éEst6is solo? Con el diablo. 835 iJesucristo! Por ti hablo.(57) 6Soy yo e1 e1 (gig) diablo? 6Qu16n sin6? iVaya, qu6 cosas ten6is!.. 84o ‘ I (III [[.[Jul 'lt'll.r\"ll\ 1.Illlll . Ii ll..i.lulllulllll [:11 [III-l {.111 Illluil I 198 *Juan: Que te llenar6 e1 bolsillo *si le sirves. *Brig: Ya veréis. *Juan: Descarga, pues, ese pecho. *6Qu6 hiciste? *Brig: Cuanto me ha dicho *vuestro page. iY qu6 mal bicho 845 **es vuestro Ciutti!..(58) *Juan: 6Qu6 ha hecho? **6No te ha entregado un bolsillo?.(59) Brig: Sf; pero tratar prefiero con vos: sois un caballero y Ciutti a1 fin... Juan: LES un pillo? 850 Brig: De veras que no es un santo, mas no digo tanto de 61. Juan: &No te dio oro y un papel?. Brig: Un poco. Juan: Toma otro tanto. (Le da un bolsillo.) Brig: Directamente es meaor 855 entendernos y es mas breve. Juan: iCon Satan6s que te lleve; acaba! Brig: E1 papel, senor, en su horario he colocado, (60) y d6ndola e1 buen consejo 860 de que en 61 1ea,1a dejo 8016. *Juan: 6L6 habr6s preparado? *Brig: iVaya" Y 05 la he convencido **de tal modo y de manera(6l) *que ir6 como una cordera 865 *tras vos. *Juan: éTan f6cil he ha sido? Brig: *Juan: *Brig: **Juan: *Brig: Juan: Brig: Juan: Brig: Juan: **Brig: 199 Es la inocencia vestida, la sencillez encarnada; virgen, cuya alma, cerrada estuvo hasta boy 61 amor. Era natural, la herida que la hizo la primer flecha fue mortal, y hoy est6 hecha esclava vuestra, sefior. (62) &Y est6 hermosa? iComo un 6ngel! Mas la has dichos (sic)..(63) Figuraos *si habr6 metido mal 0603 *en su cabeza, D. Juan. *La dige que erais el hombre *por su padre destinado *para suyo; as he pintado bravo, espléndido, gal6n. M65 imagen que la vuestra no ve ya en su fantasia; su alma vaga noche y df6 de vuestra imagen en pos: su amor es mi obra.maestra, un volc6n que la devora, un altar en que os ador6 confundiéndoos ya con Dios. iCalla, tentadora infame!.. iCalla!.. y que tu lengua impura no manche a esa criatura tom6ndola en boca m6s. 6Qu6 os pasa, D. Juan? Lo ignoro. (64) Hi espfritu ha deslumbrado un re16mpago: ha pasado ante mi... aQuién? Dios quiz6s.(65) Os estoy viendo y oyendo(66) *y me hacéis perder el tino. *yo os crefa un libertino *sin alma.y sin coraz6n. 870 875 890 895 900 Juan: Brig: Juan: Brig: Juan: Brig: Juan: Brig: Juan: Brig: 200 Quiz6s el amor humano(67) tiene un origen divino. iMiren por d6nde 1e vino al diablo la contrici6n! Me asombra, mas no me pesa de vuestro arrepentimiento. Conque me vuelvo al convento haga Inés su profesi6n y enamorada y profesa har6 una monja sin tacha. Conque a Dios. iPobre muchacha! Espérate, tentaci6n. Un v6rtigo incomprensible me desconcert6 un instante: no 56 qu6 luz fulgurante brot6 dentro de mi ser. Y el espfritu visible de Da Inés, un momento alumbr6 en mi pensamiento sin contornos de muger. Mas yo ni temo, ni creo en ning6n mundo invisible, ni en ning6n hecho imposible, ni en ning6n sumo poder. La aposté, y es infalible; ni dudo, ni me arrepiento. Esta noche en su convento ser6 mfa esa muger. *1Conque a qu68 hora se recojen **las monjas?(6 8) (Este hombre ahora me da pavor!..) Tentadora vil!.. 6le quieres responder?.. asi, sf! 6A qu6 hora se recogen las monjas? Hoy reunidas en coro est6n. Prevenidas estad ambas. . 6Cu6ndo ir6is y como? 905 910 915 920 925 930 935 201 Juan: T6 dir6s. Brig: Cuando las 6nimas den, con tiento **abriendo el huerto, a1 convento(69) *f6cilmente entrar pod6is *con la llave que os he enviado: **un claustro oscuro y estrecho **veréis; seguidle derecho(70) *y daréis con poco af6n **con nuestra celda. (71) *Juan: Y 51 acierto *a robar tan gran tesoro, *te he de hacer pesar en oro. *Brig: Por mf no queda, D. Juan. *Juan: Ve y agu6rdame. Brig: Voy, pues, *a entrar por la porterfa *y a cegar a Sor Maria *la tornera. Hasta después. (Pens6 que se arrepentfa.. .) A Dios,Ciutti.(A1 pasar por delante de 6ste. ) Ciutti: 3A Dios, arpfa! A Dios, serpiente con pies. Escena V. D. Juan - Ciutti *Juan: iPues senor soberbio envite! wMuchas hice hasta esta hora, *mas por Dios que la de ahora *ser6 tal que me acredite. Sf; pero no atropellados: hay que hacerlas pronto y bien, y hacerlas que resultados seguros y 6tiles den. Ciutti. Ciutti: Sefior... Juan: Somos hombres de dar cima de una vez a la apuesta de esta noche, s6lo en dos horas o tres; 940 945 950 955 960 965 Ciutti: Juan: Ciutti: Juan: Ciutti: Juan: Ciutti: Juan: Ciutti: Juan: Ciutti: Juan: Ciutti: Juan: Ciutti: Juan: 202 mas vamos sobre nosotros de ellas a1 cabo a tener a media Sevilla, Ciutti; a1 padre de Da Inés, a los deudos de Da Ana, a los de D. Luis con 61; la excomuni6n de los cl6rigos y la justicia del rey. Fuerza es burlarlos a todos y quedar mano y en pie. No veo c6mo... Sacando’ de Sevilla a D3 Ines y casandome con ella de veras. iAy, senor! aQué? éfiabl6is de veras? iCasaros! 1Qu6! ano te parece bien la novia?.. Es un 6ngel, Ciutti; siento por esa muger un afecto inesplicable que casi carnal no es. iVaya, un amor...honestfsimo! éY porqu6 no? iSefior!(72) éQué? Banana (sic), vuestro servicio(73) dejar me permitiréis. éPor qu6? Porque hoy me convenzo de que va vuesa merced a dar... £En loco? Peor. &Pues en qu6? 970 975 980 985 990 995 Ciutti: Juan: Ciutti: Juan: Ciutti: Juan: 203 En hombre de bien. El 6ltimo desatino alg6n dfa se ha de hacer; mas lo que nunca ha de hacerse, Ciutti, es dejarse coJer: Oye: el tesoro que tengo y que en ausencia hered6 de mi tfo el arzobispo, est6 de Ubaldo en poder, (74) y es el barco que nos trajo de este rico genovés: echemos por el atajo; e1 sacar 6 Da Inés del claustro no es gran trabajo. T6 en el caballo a través te 1a llevas y yo bajo hasta mi quinta después con el barco y el tesoro. Si se arregla todo bien y todos con todo apechan, bueno; sin6 hasta m6s ver; cuesti6n de agua, prisa y plata, conque pecho al agua, y cata(75) que no hay tiempo que perder. Vamos, pues, su serenata a dar a D3 Ana. A ver: tu mandolina desata. (De atajarle no hay poder; esto es una catarata. Y viene el otro y va a haber(76) aqui una mandolinata. M6sica. Corza ligera, que descarriada vas por ladera desconocida donde te espera red preparada porque entrampada pierdas la vida. 6A d6nde vas? Corza a quien yo reclamo, vuélvete atr6s. Ya ver6s, corza ligera, qu6 feliz y libre vas; ya ver6s lo que te espera si a su voz ofdo das. Ninfa inocente que mar adentro nadas serena del riesgo agena, 1000 1005 1010 1015 1020 1025 1030 1035 1040 vuelve a tu fuente, vuelve a tu centro 204 y huye el encuentro de la sirena. &A d6nde vas? Sal del mar a mi acento: vuélvete atr6s. 1045 Ciutti: Ya ver6s, ninfa serena que la mar surcando vas, ya ver6s con la sirena si la escuchas, c6mo das. Hablado. Juan: Pues permanece cerrada 1050 su ventana. (Abre Lucfa la ventana.) Ciutti: Se ha comido la partida; pero nada con la sefiora hay perdido, porque ha abierto la criada. Juan: éEst6s cierto? Ciutti: La he sentido. 1055 (Va(77) Ciutti al otro lado de la casa: mira a la reja, ve a Lucia y vuelve a llamar a D. Juan, que pasa.) Juan: Voy a hablarla. Ciutti: Y con porffa, porque es taimada y se hara rogar. Juan: Si en la reja est6, *lo dem6s es cuenta mfa. Escena VI. Dichos y Lucia, 6 la reja. (Ciutti recoje la mandolina y se aparta de D. Juan, poniéndose en acecho de las dos calles. D. Juan se llega a la reja de Lucia, quien después de una pausa y de mirar a D. Juan, que apoyado en la re- ja la contempla, dicez) *Lucfa: *Juan: *Lucfaa' *Juan: *Lucfa: *Juan: *Lucfa: **Juan: *Lucfa: *Juan: *Lucfa: *Juan: *Lucfa: *Juan: *Lucfa: *Juan: *Lucfa: *Juan: *Lucfa: *Juan: *Lucfa: *Juan: *Lucfa: *Juan: 205 bQué queréis, buen caballer0? Quiero. LQu6 queis, vamos a ver?.. Ver. $Ver? &Qu6 veréis a esta hora? A tu sefiora. iIdos, hidalgo, en.mal hora! *aQuién pens6is que vive aqui? Da Ana Pantoja, y...(78) *Quiero ver gflgg sefiora. &Sabéis que casa Da Ana? Sf, mafiana. aY ha de ser tan infiel ya? Sf ser6. éPues no es de D. Luis Mejfa? iCa! Otro dfa. Hoy no es mafiana, Lucia- *yo he de estar hoy con Dé Ana, *y si se casa mafiana, *Mafiana sera otro dfa. Ah! en recibiros est6? Podr6. 0Qu6 har6 si 03 he de servir? Abrir. iBahl aY quien abre este castillo? Este bolsillo. &0ro? Pronto te dio e1 brillo. aCuafito? De cien doblas pasa. 1060 1065 1070 1075 1080 1085 *Luc: *Juan: *Lucfa: 1*Juan: *Lucfa: *Juan: *Lucfa: *Juan: *Lucfa: *Juan: *Lucfa: *Juan: *Lucfa: *Juan: *Lucfa: *Juan: *Lucfa: *Juan: *Lucfa: *Juan: Lucia: Juan: Lucia: 206 iJes6s! *podr6 10h! Si es quien me dora el pico... Cuenta y di: éEsta casa abrir este bolsillo? 1090 iMuy rico! 08f? &Qu6 nombre usa el gal6n? Don Juan. &Sin apellido notorio? 1095 Tenorio. iAnimas del purgatorio! *Vos D. Juan? éQué te amedrenta *si 6 tus ojos se presenta *muy rico 2. Juan Tenorio. Rechina la cerradura... 1100 Se asegura. &Y a mi quién, ipor Belceb61.. I Tu. &Y qu6 me abrir6 el camino? EBah! Dobla Buen tino. 1105 Ir en brazos del destino... e1 oro° Me acomodo. Pues mira como de todo fig; aseggra £2 buen tino. Tomad la llave y los dos 1110 podéis entrar por ahf cuando querais. Bien. éDe mf qu6 maé quieres? Que con vos Juan: Lucia: Juan: Lucia: Juan: Lucia: *Juan: *Lucfa: *Juan: *Lucfa: *Juan: Ciutti: Juan: Ciutti: Juan: Ciutti: Juan: Ciutti: Juan: 207 me 5 uéis salva de aguf despues de tal fechor 6. Te sacar6 de mi en pos. éPero segura? Que sf. 0L0 jur6is? Sf. Pues a Dios. A Dios, pues, y en mf te ffa. Y en mi 61 garboso gal6n. A Dios, pues, franca Lucia. A Dios, pues, rico D. Juan. Con oro nada hay que falle. *Ciutti, ya sabes mi intento. iChiSt!..(79) éQué hay? En este momento D. Luis entra en esa calle. 08010 0 con gente? Con poca.(80) Se acerca...se para...Toca de la Pantoja en la reja... éY su gente? Aunque se aleja, le guarda. Pues punto en boca. Dejémosle hacer. No sabe que aqui la esquina me tapa: aqui a que el coloquio acabe aguardaré. Ciutti, escapa. Escena VII 1115 1120 1125 1130 1135 Luis: Juan: Juan: Luis: 208 D. Juan - D. Luis, Da Ana. Yo soy: sal presto. ICielosl 6Qu6 es esto? D.Juan aqui... Jam6s le vi . aNadie a tu puerta llam6? No, Luis. (Brava pregunta! aquién llama a puerta que pueda abierta tener por sf? Te avisé que una traici6n contra ti trajo D. Juan(81) y esperaba con af6n tu respuesta con Gast6n. (10h! Como inocent6n me voy de ti 6 reir cuando te vea ir a donde fue Gast6n.) De tal revelacién no sé qué colegir: tan solo s6 decir que yo no vi a Gast6n. Responde, por tu vida. 6D. Juan no vino aqui? Cantares aquf fuera no ha mucho que senti: la serenata era sin duda para mi. Mas no abri la vidriera porque tu voz no of. (Pero la casa entera se me entregaba a mi.) 6A tf una serenata aquf sin mf te dan, y el rostro me recata tu rondador gal6n? 1140 1145 1150 1155 1160 1165 1170 Luis: Juan: 209 Ana, me mata mi eterno af6n. (82) Sabes, ingrata, que fue D. Juan. No, no: que no, te digo. El no me vio jam6s. 1Dios Santo, sé testigo de mi sinceridad! Yo nunca fuf perjura, yo siempre fui leal, y puedo darte pura mi alma ante el altar. Perdona que reclame un 6ltimo favor, del seductor infame para salvar tu honor. Permiso y llave dame para que guarde yo tu casa cuando llame, porque venir jur6. iJam6s, jamés! iCeloso!. calumnias a mi amor: mafiana vas mi esposo a ser ante e1 Sefior. Ven, pues, cuando en reposo est6 todo en redor y velar6s mi suefio hasta que raye el sol. (T6 tienes la ventana, pero la puerta no: veremos quién la palma se lleva de los dos: Tu poseeras su alma” pero su cuerpo yo.) &DO MIS?OOO iCierra!(83) 1A Dios!(84) 6Quién va?(85) 1Y0! 1D. Juan! iTarde venfs! Aun hay tiempo. 1175 1180 1185 1190 1195 1200 1205 210 Juan: No, D. Luis. Luis: iA.mf!(86) Juan: 1A mf!(871 88) (Ambas coros se colocan oon la.mayor ra- pidez a1 lado de sus gefes y al tiempo que D. Juan y D. Luis desenvainan Ias espadas, un alcalde de casa y corte, con ronda y cuadrilleros, muy a tiempo les gana e1 centro a1 dividirse.) Escena VIII. Dichos - Un Alcalde, ronda, cuadri- lleros; luego Ciutti con los estu- diantes. Juan: Luis: No se rinden caballeros Coro: a villanos cuadrilleros. En las manos los aceros: 1a justicia juzgar6. 1All6 va! 1Cierra y da! Alc: Las espadas, caballeros. Ronda traigo y cuadrilleros; entregadme los aceros. La justicia juzgar6. 1Alto a116! Dense ya. Cuad: No hay escape, caballeros: los villanos cuadrilleros de las manos los aceros a quitaros vienen ya. iRecio da! iMalo va! Todos:(89) 1J6! 136! 136! (Al "A116 va" de D. Juan carga 61 y sus coros sobre el Alcalde, 1a ronda y cuadri- lleros. Tumulto general muy breve. Los de D. Juan y D. Luis, se llevan por delante ala justicia por la izquierda. D. Juan y D. Luis, después de iniciar la pelea, se quedan riendo en el centro de la escena 1210 1215 1220 1225 211 contemp16ndola: los coros siguen ale- j6ndose, mientras Ciutti con otros sale por la calle de la derecha y asegura a D. Luis.) Ciutti: iPor D. Juan!(90) Luis: ilAhll. 1.15.1 1361 135.1(91) (Ciutti y los suyos se llevan a D. Luis por la derecha. D. Juan riéndose en es- cena, saca 1a llave que le dio Lucfa y al meterla en la cerradura de la casa de Da Ana, cae e1 telon.) Fin del cuadro.(92) Acto seggndo. Cuadro 3° Serpiente y paloma(93) Celda de Da Inés: puertas laterales.(94) Escena I. Da Inés: Coro de monjas,(95) dentro. M6sica.(96) Coro: Dios, que de mundos pueblas (97) 1230 la nada y el vacfo; Sefior de las tinieblas, origen de la luz: tu templo patrocina contra el audaz impfo, 1235 por la pasi6n divina del que muri6 en la cruz. (Da Inés se levanta del reclinatorio y baja a escena. ) (98) Inés: iNo puedo!.. No puedo leer ni rezar. No 56 por qu6, miedo 1240 de todo me da. Coro: Inés: 212 Como novicia un h6bito me van.manana a dar. Novicia...Pero monja no lo ser6 jam6s. Como alas nuevas siento que en mf brotando est6n, y lejos del convento mis pensamientos van. 1Lib6rtame, Dios mfo, de tan estrano af6n o su61tame las alas y déjame volar! 1Ay, ay de 1111.. que lo que siento y quiero no me lo 56 decir. Sefior, T6 que conservas del orbe los cimientos, Ias larvas y las yerbas, los bosques y la mar; que todo lo preservas de adversos elementos, la casa de tus siervas ampara sin cesar. (99, 100) Hablado. Aun salmodian en el coro las monjitas. .. Ya se ve, hay vigilia y penitencia por el Carnaval.Tamb16n todas las noches a1 coro bajaba yo con placer, hasta hoy... oporqu6 no he ido esta noche? No 10 $6. Brfgida me dijo: "Espérame, que vuelvo. " u-Que iba a tener miedo aquf sola, -la dije, y con miedo la esperé. 1Ay de mf! Comienzo a hallar tal soledad y aridez en el convento... Mas Brfgida *6d6nde estar6? Esa.muger *con sus pl6ticas a1 cabo *me entretiene alguna vez... **H0y la echo menos...acaso(101) *porque la voy a perder, *que en profesando es preciso *renunciara cuanto am6. (102) *Mas pasos siento en el claustro. *10h! Reconozco muy bien *sus pisada. .(sic) -Ya est6 aqui. 1245 1250 1255 1260 1265 1270 1275 1280 1285 213 Escena II. Da In6s. - Brfgida. *Brig: Buenas noches, Da Inés. 1290 (Sale por la puerta de la derecha.) *lnés: tC6mo habéis tardado tanto?(103) *Brig: Voy a cerrar esta puerta. (La de la izquierda.) *In6s: Hay orden de que est6 abierta. *Brig: Eso es, muy bueno y muy santo *para las otras novicias 1295 *que ha de’consagrarse a Dios: *no, Da Ines, para vos. *Inés: Brigida, 6no ves que vicias *las reglas del monasterio *que no permiten... *Brig: ' 1Bah, gan: 1300 **mas segura asf se esta(104) *y asi se habla sin misterio *ni estorbos. aBabéis mirado *el libro que os he trafdo? *In6s: 1Ay! iSe me habfa olvidado!. 1305 *Brig: iPues me hace gracia el olvido! *Inés: Como la’madre abadesa *se entro aquf inmediatamente..(105) *Brig: iVieja m6s impertinente!.. *Inés: iPues tanto el libro interesa? 1310 *Brig: Vaya si interesa... iMucho! *Pues quedo con poco afan *el infeliz... *Inés: &Quién? *Brig: iD. Juan! 214 *Inés: iV61game el cielo! iQu6 escucho! *6Es D. Juan quien me le envfa? 1315 *Brig: iPor supuesto! *Inés: 10h! yo no debo *tomarle. *Brig: iPobre mancebo! *Deaairarle asf, serfa *matarle. *Inés: aQué est6s diciendo? *Brfg: Si es horario(106) no tom6is, 1320 *tal pesadumbre 1e dais *que va a enfermar; lo estoy viendo. *Inés: iAh! no,’no: de esa manera **lo tomare.(107) *Brig: Bien har6is. *Inés: iY qu6 bonito es! *Brig: Ya veis: 1325 *quien quiere agradar, se esmera. *lnés: Con sus manecillas’de oro. *iY cuidado que esta prieto!. *A ver, a ver si completo *contien el rezo del coro. 1330 (Le abre y cae una carta de entre sus hojas) *Mas £.qu6 cay6? *Brig: Un papelito. *Inés: 6Una carta? *Brig: iClaro est6! *En esa carta os vendr6 *ofreciendo el regalito. *Inés: iQu6! 68er6 suyo el papel? 1335 *Brig: iVaya, que sois inocente!.. *Pues que os feria, es consiguiente *que la carta ser6 de 61. *Inés: 1Ay, Jes6s! A— 215 *Brig: 6Qu6 es lo que os da? *Inés: Nada, Brigida, no es nada. 1340 *Brfg: No, no: 81 est6is inmutada. *(Ya presa en la red esta.) *6Se os pasa? *Inés: Sf. *Brig: Eso habr6 sido **alg6n mareillo vano...(108) *Inés: 1Ay! Se me abrasa la mano 1345 *con que el papel he cogido. *Brig: iDa’Inés, v6lgame Dios!.. *Jamas as he visto asf. *iEstais tr6mula!.. *Inés: 1Ay de mi! *Brig: éQué es lo que pasa por vos? 1350 *Inés: iNo 56! El campo de mi mente *siento que cruzan perdidas *mil sombras desconocidas *que me inquietan vagamente; *y ha tiempo al alma me dan 1355 *con su agitaci6n tortura. *Brig: 6Tiene alguna, por ventura, *el semblante de D. Juan? *Inés: No s6: desde que le vi, *Brfgida mia, y su nombre 1360 *me digiste, tengo a ese hombre *siempre delante de mi. *Por do quiera me distraigo *con su agradable recuerdo *y si un instante 1e pierdo 1365 *en su recuerdo recaigo. *No sé qu6 fascinaci6n *en mis sentidos ejerce, *que siempre hacia 61 se me tuerce *la mente y el coraz6n: 1370 *y aquf y en el oratorio *y en todas partes advierto *que el pensamiento divierto *con la imagen de Tenorio. *Brig: iV6lgame Dios! Da Inés, 1375 *Inés: *Brig: *Inés: *Brig: *Inés: *Brig: *Inés: *Brig: *Inés: *Brig: *Inés: 216 *seg6n lo vais esplicando, *tentaciones me van dando *de creer que eso amor es. 6Amor has dicho? Si, amor. No, de ninguna manera. Pues por amor 10 entendiera *el menos entendedor. *Mas vamos la carta a ver. *6En qué os par6is? 6Un suspiro? 1Ay! Que cuanto m6s la miro, *menos me atrevo a leer. *(Lee.) “D3 In6s del alma mia!”.. *iVirgen santa, qu6 principio! Vendr6 en verso y ser6 un ripio *que traer6 la poesfa.(109) M6sica.(110) "1Da Inés del alma mfa! *Luz de donde e1 sol 1a toma, *hermosfsima paloma *privada de libertad; *si 05 dign6is por estas letras *pasar vuestro lindos ojos, *no los tornéis con enojos *sin concluir, acabad.! 1Qu6 humildad y qu6 finura! *6D6nde hay mayor rendimiento? iBrigida, no 86 qué siento! Seguid, seguid 1a lectura. "Nuestros padres de consuno *nuestras bodas acordaron, *porque los cielos Juntaron *los destinos de los dos. *Y halagado desde entonces *con tan risuefia esperanza, *mi alma, Da In6s, no alcanza *otro porvenir que vos. **De amor con ella en mi pecho(111) *brot6 una chispa ligera *que han convertido en hoguera *tiempo y afici6n tenaz. 1380 1385 1390 1395 1400 1405 1410 *Brig: *Inés: *Brig: *Inés: *Brig: *Inés: *Brig: *Inés: 217 *Y esta llama que en mi mismo *se alimenta inestingulble, *cada dfa mas terrible *va creciendo y mas voraz." Es claro: esperar 1e hicieron *en vuestra amor algun dfa, *y hondas rafces tenfa *cuando a arrancarsele fueron. *Seguid. "En vano a apagarla *concurren tiempo y ausencia, *que doblando su violencia *no hoguera ya, volcan es. *Y yo, que en medio del crater **desesperado batallo, (112) *suspendido en él me hallo *entre m1 tumba y mi Inés." 0L0 veis, Inés? Si ese horario(113) *le despreclais, al instante *le preparan el sudario. iYo desfallezco! Adelante. "Ines; alma de mi alma, *perpétuo lman de mi vida, *perla sin concha escondida *entre las algas del mar; *Garza que nunca del nido *tender osastes e1 vuelo *el diafano azul del cielo *para aprender a eruzar; *si es que a través de esos muros *el mundo apenada miras *y por el mundo suspiras *de libertad con afan, *acuerdate que al pie mismo *de esos muros que te guardan, *para salvarte te aguardan *los brazos de tu D. Juan." *--&Qué es lo que me pasa, iclelol, *que me estoy viendo morir? (Ya trago todo el anzuelo. ) *Vamos, que esta al concluir. "Acuérdate de quien llora *al pie de tu celosfa *y allf 1e sorprende e1 dfa 1415 1420 1425 1430 1435 1440 1445 1450 1455 *Brig: *Inés: *Brig: *Inés: *Brig: *Inés: *Brig: *Inés: *Brig: *Inés: 218 *y le halla la noche allf: *acuérdate de quien vive *s6lo por ti, ivida mfa1. 1460 *y que a tus pies volarfa *si le llamaras a ti." aLo veis? 1Vendrfa1 éVendrfa? A postrarse a vuestros pies. éPuede? 10h, sf! iVirgen Marfa! 1465 Pero acabad, Da Inésl "A Dios, oh luz de mis ojos; *a Dios, Ines de mi alma, *medita, por Dios en calma *las palabras que aquf van; 1470 *y si odias esa clausura *que ser tu sepulcro debe, *manda, que a todo se atreve *por tu hermosura D. Juan!" (Cesa la musica.) *iAy! &Qu6 filtro envenenado 1475 *me dan en este papel *que el coraz6n desgarrado *me estoy sintiendo con 61? *oQue sentimientos dormidos *son los que revela en mf? 1480 *oQué impulsos Jamas sentidos? *aQué luz que hasta hoy nunca vi? *éQué es lo que engendra en mi alma *tan nuevo y profundo afan? *oQuien roba la dulce calma 1485 *de mi coraz6n? D. Juan. 4D. Juan dices? oConque ese hombre *me ha de seguir por do quier? *oS6lo he de escuchar su nombre? *S6lo su sombra he de ver?.. 1490 *iAh! Bien dice: junt6 el cielo *los destinos de los dos, *y en mi alma engendr6 este anhelo *fatal! *Brig: *Inés: *Brig: *Inés: *Brig: *Inés: *Brig: *Inés: *Brig: *Inés: *Brig: *Inés: *Brig: *Inés: *Brig: *Inés: **Brig: *Inés: *Brig: *Inés: 219 iSilencio! iMe estremecesl 1495 aofs, Da Inés, tocar? Sf, lo mismo que otras veces *las animas oigo dar. Pues no habléis de 61. ’ iCielo santo! *aDe quien? oDe quién ha de ser, 1500 *de ese D. Juan que amais tanto, *porque puede aparecer. iMe amedrentas! aPuede ese hombre *llegar hasta aqui? Quiza; *porque e1 eco de su nombre *tal vez llega a donde esta. 1505 iClelosl aY podra?.. aQuién sabe? éEs un espfritu, pues? No; mas si tiene una llave... iDios! Silencio, Da Inés: 1510 *ono ofs pasos? 1Ay! Ahora *nada oigo. (Dan las diez.)(114) Las diez dan.(115) *Suben.$.se acercan...Sefiora: *ya esta aqui. aQuién? 1E1! iD. Juan! Musica.(116) 220 (Coro dentro, de monjas,(117) que no haga mas que llegar a1 ofdo del espectador.) Coro: (Se repiten los ocho primeras versos del coro,(118) de la pri- mera escena de este cuadro.) Hablado. (durante e1 coro.) Escena III. Da Inés. Brigida. D. Juan. coro de monjas,(119) dentro. *Inés: éQué es esto? iSuefio! aDeliro? *Juan: iInés de mi coraz6n! (Saliendo.) *Inés: aEs realidad lo que miro *0 es una fascinaci6n?(12) *1Tenedme...apenas respiro!.. *iSombra!..iHuye por compasi6n1.. *iAy de mf!.. (Desméyase Da Inés y Dn Juan la sos- tiene: la carta de D. Juan queQa en el suelo a1 desmayarse Da Ines.) *Brig: La ha fascinado *vuestra repentina entrada *y el pavor la ha trastornado. *Juan: Mejor, asf nos ha ahorrado *la mitad de la jornada. *1Ea1 no desperdiciemos *el tiempo aquf en contrmplarla *si perdernos no queremos. *En los brazos a tomarla *voy y cuanta antes ganemos *ese claustro solitario. *Brig: 10h! $Vais a sacarla asf? *Juan: iNecia1 apiensas que rompf *la clausura temerario *para dejérmela aqui? *Mi gente abajo me espera. *inguemel (Coje a Da Inés en brazos y vase.) 1515 1520 1525 1530 1535 221 Escena IV. Brigida, sola. *Sin alma estoy... Mas no me quedo aqui hoy yo. Suceda lo que quiera, 1nada1 con ellos me voy. (Vase corriendo. ) Fin del cuadro. Acto 2° Cuadro 4° Pecho al agua(121) Escena 1a Ciutti, coro de Estudiantes. musica. Coro: Es mentira, nos engafias; conocemos bien tus mafias, y tememos tus marafias,.. conque mira bien por ti. Cuando cuenta de ellos dimos, do quedabais nos volvimos; ya no estabais, os perdimos: tu de el sabes, s1, sf, sf. Ciutti: De e1 vosotros sois amigos y por 61 alzais pend6n: mas ni amigos ni enemigos sabréis de 61, no, no, no, no. (Los Estudiantes le cercan y estre- chan para obligarle a hablar.) Quietos! quietos! Poco a poco: nadie miedo a mf me da; son secretos y no puedo revelaros d6nde esta. 1540 1545 1550 1555 222 La partida pende de esto y la vida de 61 quiza: mas os digo como amigo que muy pronto volvera. 1560 Ciutti. Coro. Algo yo Que paso?(sic) ya os dire, damos fe; pero no de batido(122) d6nde fue. c6mo fue? Ciutti. Oh! que afan! 1565 Yo os diré de D. Juan lo que se. La historia de D. Juan es una tela tegida por las manos del amor; 1570 una red de(123) las almas sin cautela a traici6n aprisiona e1 ciego Dios. Red de trama tan sutil cual labor de tal maestro tejedor: 1575 y es mi amo e1 mas gentil, e1 mas fino y el mas diestro pescador. y hoy fue en su barco a pescar truchas: 1580 de ellas es el meJor pescador. (124) Sf sefior; eso es; el mejor pescador: 1585 sf sefior. Coro: Lo que pesca D. Juan 1° saben muchas. lo sabemos Sf sefior que 3 2333363,Sf sefior. Sf senor, Que lo es 1590 el mejor pescador. Sf sefior. Ciutti: La trucha y la muger caen por boca: la que cae muere dentro de su red, 1595 que por cebo, D. Juan, allf coloca un(125) coraz6n que ceba Lucifer. La que muerde mas tenaz mas aprisa muere en lucha con e1(126) amor: 1600 Coro: Ciut: Coro: Ciut: Coro: Brig: Ciut: Brig: *Ciut: 223 pues D. Juan es incapaz de soltar muger ni trucha que pesc6. Y hoy fue en un barco a pescar truchas, como que es el mejor pescador. Sf sefior que lo es, el mejor pescador: sf sefior. Pues alguna tal vez cuando son.muchas pesca al fin al meJor pescador. Sf senor cae tal vez el mejor pescador: sf sefior. Hablado. Con que ya sabéis qué es de 61; y como no tardaré, id a esperarle a1 jardfn si la quereis esperar. No nos volvemos sin verle. Y hacéis muy bien; tanto mas que tal vez unos de otros tengamos necesidad aun. Vamos. a Escena 2. Ciutti. --Brfgida. Uf! qué posmas han estado! Es natural; 10 adoran, 1e creen perdido y le quieren encontrar. *Qué noche, ivalgame Dios!..(127) *no me puedo menear. Pues aqué os duele? 1605 1610 1615 1620 1625 1630 224 *Brig: Todo el cuerpo, **y creo que el alma. (128) *Ciut: Ya1.. Como a montar no est6is hecha a caballo., as natural. *Pues de estas cosas veréis, (129, 130) *si en esta casa os qued6is, *Lo menos seis por semana. *Brig: Jesfis! *Ciut: aY esa nifia est6 *reposando todavfa? *Brig: &Y a qu6 se ha de despertar? *Ciut: Sf, es meJor que abra los ojos *en los brazos de D. Juan. *Brig: Preciso es que tu amo tenga *algun diablo familiar. Ciut: Si 10 tiene es un buen diablo, pues no nos ayuda mal: mas me temo que le pierda por volver a Dios la faz, y se quede sin e1 diablo y Dios no la quiera ya. Brig: No 08 entiendo. Ciut: Yo tampoco me 86 mejor esplicar. Mas ya tarda,1vive Dios! *Brig: Las doce en la catedral *han dado ha tiempo. *Ciut: Y de vuelta *debfa a las doce estar. . . I *Brig: Pero oporque no se vino *con nosotros? **Ciut: Tuvo all6(131) **en la ciudad para el viage(132) *cuatro cosas que arreglar. *Brig: 6Para e1 viage? *Ciut: Por supuesto; *aunque may f6cil ser6 *que esta noche a los infiernos 1635 1640 1645 1650 1655 1660 1665 225 **nos hagan con 61 viajar.(133) *Brig: Jesfis, iqu6 ideas! *Ciut: Pues digo: *6son obras de caridad *en las que nos empleamos *para major esperar? *Aunque seguros estamos **como vuelva por ac6.(134) *Brig: 6De veras, Ciutti? *Ciut: ’ Venid *a este balcon y mirad. *éQue veis? *Brig: Veo un bergantfn que bajando el rfo va. Ciut: Pues su patr6n, a las 6rdenes debe venir de D. Juan, *y salvos en ese caso *a Italia nos llevar6. *Brig: 6Cierto? Ciut: Vaya! antes que el sol, saldremos del rfo al mar: est6n los cuatro elementos al servicio de D. Juan. *Brig: Chist! Ya siento a Da Inés. *Ciut: Pues yo me voy, que D. Juan *encargo que sola vos *debfais con ella hablar. *Brig: Y encarg6 bien, que yo entiendo *de esta. *Ciut: A Dios, pues. *Brig: Vete en paz. Escena 3? Da In63.-Brfgida. Inés: Brigida? (Dentro.)(135) Brig: Qu6, Da In68?(136) 1670 1675 1680 1685 1690 **Inés: *Brig: *In6s: *Brig: *In6s: *Brig: *Inés: *Brig: *In6s: *Brig: *Inés: *Brig: 226 Brigida por caridad, (137) *6d6nde estamos? 6Este cuarto *es del convento? No tal: *aquello era un cuchitril 1695 *en donde no habia m6s *que miseria. Pero, en fin, *6en d6nde estamos? Mirad, *mirad por este balo6n, fly alcanzar6is lo que va 1700 *desde un convento de monjas *a una quinta de D. Juan. 6E8 de D. Juan esta quinta? Y creo que vuestra ya. Pero no comprendo, Brigida, 1705 *lo que hablas. Escuchad. *-Est6bais en el convento, *leyendo con mucho af6n *una carta de D. Juan, *cuando estall6 en un.momento 1710 *un incendio formidable! Jesfis! ESpantoso, inmenso; *el humo era ya tan denso, *que el aire se hizo palpable. Pues no recuerdo... Las dos 1715 *con la carta entretenidas, *olvidamos nuestras vidas, *yo oyendo y leyenda vos. *Y estaba en verdad tan tierna, *que entrambas a su lectura 1720 *achacamos la tortura *que sentfamos interna. *Apenas ya respirar *podfamos, y las llamas *predfan ya en nuestras camas: 1725 *nos fbamos a axfixiar, *cuando D. Juan, que os adora, 227 *y que rondaba e1 convento, *al ver crecer con el viento *la llama devastadora, 1730 *con inaudito valor *viendo que fbais a abrasaros, *se metio, para salvaros, *por donde pudo mejor. *Vos, a1 verle asf asaltar 1735 *la celda tan de improviso, *os desmayasteis...preciso; *la cosa era de eSperar. *y 61, cuando 03 via caer asi, *en sus brazos os tom6 1740 *y ech6 a huir; yo le seguf, *y del fuego nos sac6. *6D6nde fbamos a esta hora? *Vos segufais desmayada; *yo estaba ya casi ahogada1... 1745 *Dijo, pues: "hasta la aurora *en mi casa las tendr6:" *y h6nos, Da Inés, aqui. *Inés: 6Conque esta es su casa? *Brig: Sf. *Inés: Pues nada recuerdo a fe 1750 *Pero...en su casa!.. 0h! al punto *salgamos de ella...yo tengo *la de mi padre. *Brig: Convengo *con vos; pero es el asunto... *Inés: 6Qu6? *Brig: Que no podemos ir. 1755 *Inés: Ofr tal me maravilla! *Brig: Nos aparta de Sevilla... *Inés: aquién? *Brig: Vedlo: e1 Guadalquivir. *Inés: 6N0 estamos en la ciudad? *Brig: A una legua nos hallamos 1760 *de sus murallas. *Inés: 0h! Estamos *perdidas! *Brig: *Inés: *Brig: *Inés: *Brig: *Inés: 228 No s6, en verdad, *por qu6! Me est6s confudiendo, *Brfgida.. .y no 56 qué redes *son las que entre estas paredes *temo que me est6s tendiento. *Nunca el claustro abandoné, *ni 56 del mundo esterior *los usos, mas tengo honor; *noble soy, Brigida, y 86 *que la casa de D. Juan *no es buen sitio para mi: *me lo est6 diciendo aqui *no s6 qu6 escondido af6n. *Ven, huyamos. Dofia Inés, *la existencia os ha salvado. Sf, per me ha envenenado *el coraz6n. aLe am6is, pues? No $6...mas por compasi6n, *huyamos pronto de ese hombre, *tras de cuyo s6lo nombre *se me escapa e1 coraz6n. *Ah! T6 me diste un papel **de manos de ese hombre escrito(138) *y alg6n encanto maldito *me diste encerrado en 61. *Una sola vez 1e vi *por entre unas celosfas, *y que estaba me decfas *en aquel sitio por mi. *T6, Brigida, a todas horas *me venfas de 61 hablar, (139) *hacfendome recordar *sus gracias fascinadoras. *T6 me digiste que estaba *para mfo destinado *por mi padre...y me has Jurado *en su nombre, que me amaba. *éQue le amo dices? pues bien, *si esto es amar, sf, le amo; *pero yo sé que me infamo *con esa pasi6n también. *Y 31 e1 d6bil coraz6n *se me va tras de D. Juan, *tir6ndome de 61 est6n *mi honor y mi obligaci6n. 1765 1770 1775 1780 1785 1790 1795 1800 1805 *D. *Brig: *Inés: *Brig: *Inés: *Brig: *Inés: *Brig: *Inés: *Brig: *Inés: *Brig: *Inés: *Inés: *Ciut: Juan *Brig: *Inés: 229 *Vamos, pues, vamos de aquf *primero que ese hombre venga; *pues fuerza acaso no tenga *si 1e veo junto a mi. *Vamos, Brigida. 1810 Esperad. *6No ofs? éQué? Ruido de remos. Si, dices bien; volveremos *en un bote a la ciudad. Mirad, mirad, Da Inés. 1815 Acaba... Por Dios partamos. Ya imposible que salgamos. 6Por qu6 raz6n? Porque 61 es *quien en ese barquichuelo *se adelanta por el rio. 1820 Ay! dadme fuerzas, Dios mfo! Ya lleg6; ya est6 en el suelo. *Sus gentes nos volver6n *a casa; mas antes de frnos, *es preciso despedirnos *a 10 menos de D. Juan. 1825 Sea y vamos a1 instante. %No quiero volverle a ver. (Los ojos te har6 volver *al encontrarle delante.) *Vamos. 1830 Vamos. Aqui est6n. (Dentro.) Alumbra. (IQ.) Nos busca! El es! 230 Escena 4a Dichas. -D. Juan. *Juan: 6A d6nde vais, Da Inés? *Inés: Dejadme salir, D. Juan! M6sica.(140) Hablado. (Da Inés, levant6ndose de repente como fascinada dice con exaltaci6n.) *Inés: No, D. Juan; en poder mfo *resistirte no est6 ya: *yo voy a ti como va *sorbido a1 mar ese rio. *Tu presencia me enagena, *tus palabras me alucinan, *y tus ojos me fascinan, *y tu aliento me envenena. *D. Juan!..D. Juan!..yo lo imploro *de tu hidalga compasi6n: *o arr6ncame e1 coraz6n *0 6mame, porque te adoro! *Juan: Alma mfal. esa palabra *cambia de modo mi ser, *que alcanzo que puede hacer *hasta ue e1 Ed6n se me abra. *Sf: ire mi orgullo a postrar *ante el buen comendador; *y o habr6 de darme tu amor, *0 me tendr6 que matar. *Inés: D. Juan de mi coraz6n! *Juan: Silencio! Inés: 60u6 hay? Juan: Ruido siento! In6s: Si es mi padre...1 1835 1840 1845 1850 1855 231 Juan: En ocaci6n mejor, llegar no podrfa. Inés: Oh! no! *Juan: Brigida, un momento *pasad a ese otro aposento; 1860 **y perd6name, Ines mfa,(141) **pues solo me importa estar.(142) *Inés: 6Tardar6s? *Juan: Poco ha de ser. *Inés: A mi padre hemos de ver. Juan: Si no es 61, al alborear. 1865 *ADios! Escena 5? Do Juana-Ciutti. *Ciut: Sefior! *Juan; aQué sucede, *Ciutti? *Ciut: Ahf est6 un embozado, *en veros muy empefiado.. *Juan: aQuién es? *Ciut: Dice que no puede *descubrirse m6s que a vos, 1870 *y que es cosa de tal priesa, *que en ella se 03 interesa **la existencia a ambos a dos.(143) *Juan: 6Trae gente? Ciut: Un page no m6s, que los caballos pasea 1875 que montan. Juan: Sea quien sea, 1‘1que entre. Escena 6? D. Juan, -luego Ciutti y D. Luis, embozado. 232 *Juan: Jugamos a escote *Ia vida!..(144) Mas si es quiz6s *un traidor que hasta mi quinta *me viene siguiendo el paso?.. 1880 *H6lleme, pues, por s1 acaso, *con las armas en la cinta. (Se cine la espada y suspende a1 cinto un par de pistolas que habr6 colocado sobre la mesa a su salida en la escena tercera. A1 momento sale Ciutti conduciendo a D. Luis, que embozado hasta los ojos espera a que se queden solos. D. Juan hace a Ciutti una sena para que se retire: 6ste lo hace. ) Escena 7? Do Juan. -D. LIIiS. *Juan: (Buen talante!) Bien venido, *Caballero. *Luis: Bien hallado, *sefior mfo. *Juan: Sin cuidado 1885 *hablad. *Luis: Jam6s 10 he tenido. *Juan: Decid, pues, a qu6 venis, *a esta hora y con tal af6n. *Luis: Vengo a mataros, D. Juan. Juan: Desembozaos, D. Luis. 1890 *Luis: No os engafi6 e1 coraz6n, *y el tiempo no malgastemos, *D. Juan: los dos no cabemos *ya en la tierra. *Juan: En conclusi6n, *leal la apuesta os gan6; 1895 *mas si tanto os ha escocido *mirad si ha116is conocido *remedio, y le aplicaré. *Luis: No hay m6s que el que os he propuesto *D. Juan: -Me habéis maniatado, 1900 *Junn: *Luis: *Juan: *Luis: *Juan: *Luis: *Juan: *Luis: *Juan: *Luis: *Juan: *Luis: *Juan: *Luis: **y empufiad, **la espada, que me impaciento!(146) *salgamos, 233 *y hab6is la casa asaltado *usurp6ndome mi puesto: *y pues el mfo tom6steis *para triunfar do Da Ana, *no 8018 vos, D. Juan, quien gana, *porque por otro Jug6steis. Ardides del Juego son. Pues no as los quiero pasar, *y por ellos a Jugar *vamos ahora el coraz6n 6L6 arriesgais, pues, on revancha *de Da Ana de Pantoja? Sf, y lo que tardo me enoja *en lavar tan fea mancha. *D. Juan, yo la amaba, sf; *mas con lo que habéis osado, *imposible la hais dejado *para vos y para.mf. 6Por qu6 la apost6steis, pues? Porque no pude pensar *que lo pudi6rais lograr, lpor san Andr681, (145) BaJemos a la ribera. Aquf mismo. Necio fuera. *No veis que en este aposento *prendieran.al vencedor? Tengo abaJo una barquilla; puede irse en ella a Sevilla el que quede. Eso es mejor pues. Esperad. 6Qu6 sucede? Ruido siento!(147) Pues no perdamos momenta. Escena 8? 1905 1910 1915 1920 1925 1930 *Ciut: *Juan: *Ciut: *Juan: *Ciut: *Juan: *Juan: *Luis: *Juan: %Luis: *Juan: **mas ya no me ffo en vos.(14 234 Dichos. -Ciutti. Sefior, la vida salvad! 6Qu6 hay, pues? El comendador *que llega con gente armada. Déjale franca la entrada, *pero a 61 S610. Mas eefior... Obedéceme! (Vase Ciutti.) Escena 98 D. Juan. -D. Luis. D. Luis, *pues de mi 05 hab6is fiado %cuanto dej6is demostrado “cuando a mi casa venis, cno dudar6 en suplicaros, *--pues mi valor conocéis-- *que un instante me aguardéis. Yo nunca puse reparos *en valor que es tan notorio Ved que las partes son dos *de la apuesta con Tenorio, *y que ganadas est6n. Logr6steis a un tiempo!.. ‘ Sf: *la del convento est6 aqui; fiy pues viene de D. Juan %a reclamarla quien puede, *cuando me podeis matar Xno debo asunto dejar 1tras mfo oue pendiente quede. irDesde ahf ved y escuchad; *franca tenéis esa puerta; *si veis mi conducta incierta *como os acomode obrad. 8) 1935 1940 1945' 1950 235 %Luis: Me avengo, si muy reacio *no and6is. *Juan: Calculadlo vos *a placer: mas, 6vive Dios!... 1965 *que para todo hay espacio. (Entra D. Luis en el cuarto que D. Juan 1e sefiala.) *Ya suben. (2. Juan escucha.) *D. Gonz: 6D6nde est6? (Dentro.) *Juan: El es! Escena 10. D. Juan. -D. Gonzalo. *Gon: 6Ad6nde est6 ese traidor? *Juan: Aqui est6, comendador. *Gon: iDe rodillas?... *Juan: Y a tus pies. 1970 *Gon: Vil eres hasta en tus crimenes! *Juan: Anciano, la lengua ten, 5y esc6chame un solo instante. *Gon: 6Qu6 puede en tu lengua haber *que borre lo que tu mano 1975 *escribi6 en este pape1?(149) Juan: La reparaci6n completa de tu honor ue aun no manché, y la salvacion de mi alma. Gon: oY qu6 tengo yo que ver 1980 con tu salvaci6n, D. Juan? Juan: D. Gonzalo, D3 In6s es el 6ngel que la faz hacia Dios me hace volver. Y0 esclavo tuyo y de tu hija 1985 m6s que su esposo ser6; y al darla mi nombre y mano, *ella me dar6 el Ed6n. Gon: Juan: Gon: Juan: Gon: Juan: **Gon: Juan: Gon: Luis: 236 Tu nombre la manchar6; tu mano la har6 caer: para el blas6n de tu casa no hay en los mfos cuartel. Comendador!.. Los Tenorios que se echan asf a mis pies, los collares de mis perros merecen no m6s. Pardiez! Comendador, ve que est6 ceg6ndote Lucifer, y est6s de un hombre exigiendo m6s de lo que cabe en 61! Lo que no cabe en tu alma es virtud, fe, ni honradez. *D. Juan, t6 eres un cobarde *cuando en la ocasi6n te ves, *y no hay bajeza a que no oses *como te saque con bien. Comendador, pues conservo la postura en que me ves después de ofr tus denuestos, piensa cu6l ser6 e1 poder de este amor que me hace en tierra ante ti permanecer. Basta, vil; que me avergfienzo(150) **de mirarte a ese nive1,(151) *lo que apostabas por fuerza *suplicando por merced. *Ea! Entrégamela a1 punto, (152) *0 sin poderme valer, *en esa postura vil *el pecho te cruzar6. Comendador!.. Mi hija! Pronto! Escena 11? Dichos. -D. Luis. J6, 36, 36!..D. Juan, muy b1en1(153) 1990 1995 2000 2005 2010 2015 2020 237 Juan: Esto m6s!.. Pues Dios lo quiere, tomad a D. Juan cual es; y al diablo dad vuestras almas, 2025 pues 1a m1a no quer61s!(154) l6sica.(155) Hablado.(156) Juan: Ciutti.(157, 158) Ciut: Aquf estoy.(159) *Juan: Hay paso! Ciut: E1 rio libre. *Juan: A116 voy. (160) *Llamé a1 cielo y no me oy6. *Y pues sus puertas me cierra *de mis pasos en la tierra **responda el cielo no yo. (161, D. Juan Tenorio. (2a parte.)(163) Acto 39 Cuadro 50(164) Escena 1a 2030 162) (A1 alzarse e1 tel6n se oye e1 Coro de monjas, dentro. El Escultor arregla y recoje sus utensilios y llaves para marcharse; entra y sale por detr6s de las est6tuas, etc. mientras el coro.)(165) M6sica. 238 Coro. (dentro.) Purfsima Maria, del mundo soberana a quien la luna calza y a quien corona e1 sol, disipa o ilumina 1a ceguedad mundana por la pasi6n divina del Sumo Renentor. Santa paloma que traes la oliva *Escul: *Escul: *Juan: *Esc: rosal florido de Jeric6, en alas torna nuestra fe viva y ampara a1 alma que en ti fi6. Virgen pura, criatura sin un 6tomo mortal, a Dios ruega por la ciega raza id61atra del mal. Hablado. Pues sefior, es cosa hecha: *el alma del buen D. Diego *puede, a mi ver, con sosiego *reposar muy satisfecha. *Mas ya de marcharme es hora; *todo corriente lo dejo, *y de Sevilla me alejo *al despuntar de la aurora. *Oh, frutos de mis desvelos; **m6rmoles que yo animé, (166) *y por quienes arrostr6(167) *la intemperie de los cielos: *el que forma y ser os dio *va ya a perderos de vista; *velad mi gloria de artista *pues viviréis m6s que yo. (Va a salir cuando entra en escena D. Juan.) *Mas 6qu16n llega? Escena 2. E1 Escultor. -D. Juan. Caballero... Dios 1e guarde. Perdonad, *mas ya es tarde y.. 2035 2040 2045 2050 2055 2060 *Juan: *Esc: *Juan: Esc: **Juan: Juan: Esc: Juan: Esc: Juan: Esc: Juan: 239 *un instante, *que me expl (Mir6ndolo todo en rededor. ) *sois forast Aguardad porque quiero iquéis... 6Por acaso BIO? Afios ha *que falta de Espafia ya, *y me choc6 *enteramente *de como yo iY tanto! Como que era esto el ver a1 paso **cuando a esta verja llegu6, (168) **el hallar este recinto(169) distinto lo deje. jardfn com6n a1 palacio y la encomienda, y hoy puesto est6 el pante6n en su espacio. El jardfn vuelto pante6n!..(170) Vedlo: y aun su antiguo duefio no pudo 116 a completa 6Por qu6? D. legar con toda su hacienda, su palacio a la encomienda a la que 61 pero la jus que tal no no 56 bien e1 palacio de su hijo.(171) De esa casa e1 heredero(172) no puede se var su empefio ejecuci6n. Diego queria pertenecia: ticia dijo podfa hacer, por qu6. Por ser r despojado jam6s, ni por el Estado ni por deudas de dinero.(173) Pues hay ot I38? Las de honor. Qu6 familia m6s estrafia! La m6s c618 podxa ser, bre de Espafia por el valor de su gente. 2065 2070 2075 2080 2085 2090 2095 240 Esc: Harto fuera(174) para e110 la idea rara 2100 de un pante6n que asombrara a la gente venidera. Juan: 6Por qué? Esc: Porque e1 padre dijo *que se enterraran en 61 *los que a la mano cruel 2105 *sucumbieron de su hijo: *y mirad en derredor *los sepulcros de los m6s *de ellos. *Juan: Y vos sois quiz6s *el conserje? *Esc: El escultor 2110 **de su estatuaria encargado.(175) (D. Juan mira y el Escultor 1e acompafia a1 movimiento escénico.) *Juan: Bien emple6 sus riquezas(176) *el difunto! *Esc: Ya lo creo! *Miradle allf. *Juan: Ya 1e veo. *Esc: Le conocisteis? *Juan: Sf. *Esc: Piezas 2115 *son todas muy parecidas, *y a conciencia trabajadas. *Juan: Cierto que son estremadas! *Esc: 608 has sido conocidas *las personas? *Juan: Todas ellas. 2120 *Esc: 6Y os parecen bien? *Juan: Sin duda, *seg6n lo que a ver me ayuda *el fulgor de las estrellas. *Esc: *Juan: *Esc: *Juan: *Esc: *Juan: *Esc: Juan: *Esc: *Juan: Esc: Juan: Esc: *Juan: Esc: Juan: Esc: Juan: 241 Oh! se ven como de dfa *con esta luna tan clara. *Esta es m6rmol de Carrara. (Sefialando a la de D. Luis) Buen busto es el de Mejia! *Hola! aquf el comendador *se representa muy bien. Yo quise poner también *la est6tua del matador *entre sus victimas, pero *no pude a manos haber *su retrato... Un Lucifer *dicen que era e1 caballero *D. Juan Tenorio. Muy malo! *Mas como pudiera hablar, *le habia algo de abonar *la est6tua de D. Gonzalo. 6Tamb16n habéis conocido *a D. Juan? Mucho! A ser Cierto *lo que cuentan... No hay aserto que no tenga su afiadido. Dicen que ha muerto. Es engafio. 6Vive? sf. 6D6nde? En Sevilla. Pues ya no me maravilla... 6066? Otro caso, que ya estrafio no me parece, a ser cierto lo que decfs! Y es?... 2125 2130 2135 2140 2145 242 Esc: Que ruido por vez primera he sentido 2150 hoy en la casa: han abierto ya de noche sus balcones, y como es vulgar aserto... Juan: 6Creéis en apariciones? Esc: No; mas en casa de un muerto... 2155 Juan: Yo no lo es: D. Juan la habita desde esta noche, y dispuesta para instalarse, a una fiesta a unos amigos invita. Y ofd: (Ruido g1; carcajadas, gig.) ya algun convidado 2160 tiene en casa. Esc: Fiesta impfa! Juan: 6Queréis ir? Esc: Yo a tal orgia!.. Juan: Como suya. Esc: Desdichado! 6como osa otra vez venir? *Juan: 6Porqué no? Pienso a mi ver 2165 *que donde vino a nacer, *justo es que venga a morir. **Y pues 1e merman su herencia(177) *para enterrar a estos bien, *a 61 es muy justo también 2170 *que le entierren con decencia. Esc: 6Aquf? Qu6 profanaci6n! *Juan: Hombre es D. Juan que, a querer(178) se har6 su alcoba poner por tumba en el pante6n.(179) 2175 *Esc: Qu6 m6nstruo, supremo Dios!(180) *Juan: Podéis estar convencido *de que Dios no le ha querido. *Esc: Tal ser6! *Juan: Mejor que vos.(181) 2180 Esc: (6Qui6n ser6 6ste?) Juan: *Esc: *Juan: *Esc: *Juan: Esc: Juan: Esc: 243 Qu6 veo!.. *0 es ilusi6n de mi vista, *0 a D3 Inés e1 artista *aquf representa creo. Sin duda. 6Tambi6n muri6? Dicen que de sentimiento, **cuando otra vez al convento(182) *abandonada volvi6 *por D. Juan. 6Y yace aqui? Ahf lo dice. 6Muerta, vos 1a habéis vist0?(183) No, por Dios. A las que mueren ahi o profesas 0 en clausura, se las ve cuando profesan, no cuando de vivir cesan ni recibir sepultura. (Contempla absorto 1a est6tua.) *Juan: Esc: Juan: Esc: **Juan: *Esc: *Juan: *Esc: Juan: Cu6n bella y cu6n parecida *su efigie en el m6rmol es! *Quien pudiera, Da Inés, *volver a darte la vida!.. (Pausa.) 6Caballero? 6Qu6? Que es hora de cerrar e irme de aqui. Dadme las llaves a mf(184) *y marchaos desde ahora. 6A vos! A mi! 6qu6 dudéis? Como no tengo el honor... No es menester, escultor. Idos. 2185 2190 2195 2200 2205 **Esc: *Juan: *Esc: *Juan: Esc: Juan: Esc: 244 Si el nombre que us6is(185) *supiera... Viven los cielos!.. *Dejad a D. Juan Tenorio *velar e1 lecho mortuorio **donde duermen sus abuelos.(186) D. Juan Tenorio!.. Yo soy. Jesucristo1. 6Qu6 te asombra? 6Crees que soy alguna sombra? Dac6 y vete. Ya me voy. *Tomad. (No quiero la piel *dejar aqui entre sus manos. *Ahora, que los sevillanos *se las compongan con 61) Escena 3? D. Juan. *Mi buen padre emple6 en esta *parte de la hacienda mfa: *yo tal vez a1 otro dia *1a hubiera a una carta puesto. *No as podéis quejar de mf, *vosotros a quien mat6; *si buena vida os quit6, *buena sepultura os di.. *Magnifica es, en verdad, *la idea de tal pante6n; *y...siento que el coraz6n *me halaga esta soledad. *Hermosa noche!.. lay de mi! *cu6ntas como ésta tan puras, *en infames aventuras *desatinado perdi. *Cu6ntas a1 mismo fulgor *de esa luna transparente *arranqué a alg6n inocente *la existencia 0 el honor. *Sf, después de tantos afios *cuyos recuerdos me espantan, *siento que en mi se levantan *pensamientos en mi estrafios. 2210 2215 2220 2225 2230 2235 2240 (Desaparece la est6tua del pedestal.) Juan: Inés: Juan: 245 *Ohl Acaso me los inspira *desde el cielo en donde mora, *esa sombra protectora *que por mi mal no respira! Mfisica. M6rmol que inerte viste la forma de mi Inés, de la que ya no existe, qu6 tienes que me des? Inés, que recibiste mis Juramentos, ven; del coraz6n m6s triste misericordia ten. Suefio! deliro! del pedestal d6 est6 la blanca imagen sepultural?(187) Escena 49 Da Inés, D. Juan y Coro, dentro. No es alucinacién lo que con tu alma ves. D. Juan: tu evocacién ha obedecido Inés. Vi§i6n idolatrada, vual es aqui tu ser? Mi ser es un misterio que abarca mal y bien;(188) y este cementerio mi b6ratro 0 mi Ed6n. Del premio 0 del castigo tu fe ser6 nivel, pues en tu alma abrigo das a mi amor tan fiel; te salvar6s conmigo o perder6s por 61.(189) Imagen impalpable que comprender no 36: 2245 2250 2255 2260 2265 2270 2275 246 que yo te vea y hable y a Dios me acercare. Coro b6quico dentro. Escanciad y bebed, vuestra sed apagad:(190) en su casa nos hallamos en completa libertad. Inés: Ven t6, D. Juan, ven conmigo, que yo te gufo a tu bien: mas del premio 0 del castigo llega e1 plazo: cuenta ten. Tiene un (gig) hora(191) nuestra vida; tan medida nos la dan: aprovecha la postrera y a Dios vuélvete, D. Juan. Coro de monjas dentro. Virgen pura, criatura sin pecado original, a Dios ruega por la ciega multitud secuaz del mal. Juan: Mi cerebro se ha exaltado ’ con entrar en el pantheon. Juan: Inés: Qu6 he ofdo? Has oido qu6 he sentido? y has sentido Quién al alma que he vivido me habl6 aqui? para ti: Ser, del 6ter Aprovecha, elemento, pues, con tiento aun te siento e1 momento Junto a mi! que te di. 2280 2290 2295 2300 2305 2310 247 Coro b6quico. Escanciad y bebed: vuestra sed apagad;(192) 2315 en su casa nos hallamos en completa libertad. Hablado. Escena 5? D. Juan.(193) *Pasad y desvaneceos; *pasad, siniestros vapores *de mis perdidos amores, 2320 *de mis fallidos deseos. *Pasad, vanos devaneos *de un.amor muerto al nacer; *no me volv6is a traer *entre vuestro torbellino, 2325 *ese fantasma divino **que recuerda a una muger.(194) --Mas si fuera una verdad la ilusi6n que me fascinal... Si esa aparici6n divina 2330 fuera Inés en realidad!.. si existe en la eternidadl. si allf a mi espfritu espera su espfritu!..Si existiera Dios, Iqué iba a ser hoy de mf!.. 2335 Delirios(195) vida yo solo..l. iQuimera! (Pausa.) *Ahl(196) Estos suefios me aniquilan; *mi cerebro se enloquece... ‘y esos m6rmoles, parece 2340 *que estremecidos vacilan!.. (Movimiento de cabeza de las est6tuas, volB viéndose a mirarle.)(197) *Sf, sf:(198) sus bustos oscilan:(199) *su vago contorno medral.. *Pero D. Juan no se arredra! *Alzaos, fantasmas vanos; 2345 *yo os volver6 con mis manos *a vuestros lechos de piedra. *No, no me causan pavor *vuestros semblantes esquivos: *Jam6s, ni muertos ni vivos, 2350 Ciut: *Juan: Ciut: Juan: Ciut: Juan: 248 *humillaréis mi valor.(200) *Yo soy vuestro matador *y en Sevilla es bien notorio: (201) *si on vuestra alc6zar mortuorio *me aprest6is venganza fiera, *daos prisa; aqui os espera *otra vez D. Juan Tenorio! Escena 6? Do Juan. -Ciutti o 6Qu6 dice? D. Juan! 6Qu6 es eso? **&Qu18fi repite ahi mi nombre?(202) Quien seas, fantasma u hombre, avanza. 6Perdéis e1 seso, senor D. Juan? Os busqu6 por doquier.. .mas no cref... 6Qu6 diablos hacéis aqui a estas horas? Yo no 86. Abierta esa verja vi; me atrajo algo aquf.. y entr6. 6Sabéis d6nde est6is? Sf, a fe: en el pante6n que hecho fue para Ines y para mf. (Ciutti le contempla un momento asombrado y dice.) Ciut: Juan: Ciut: Juan: Ciut: V6monos de aqui, senor: ya est6n vuestros convidados de esperar desesperados, y este sitio me da horror. Qu6 encanto para mi tiene! Aqui mora, aqui la he visto. 6A quién? A Inés. Jesucristo! 6Delirais? 2355 2360 2370 2375 Juan: Ciut: Juan: Ciut: Juan: Ciut: Juan: Ciut: Juan: Ciut: Juan: Ciut: Juan: Ciut: 249 Que me serene (Volviendo en §£,) déjame, Ciutti, un instante, porque no 56 lo que ha sido; mas creo ue 1a he tenido aqui, aqu de mi delante. 6Perdéis el juicio? Lo ignoro: mas por doquiera la veo, y en su inerte imagen creo que es a Dios a quien adoro. 6Crees en Dios, Ciutti?(203) No 86: desde que vivo con vos, nunca hemos pensado en Dios. 6Pens6is vos hoy? sf. Porqu6? Porque en 61 me hizo pensar... 6Qu16n? Da Inés. Si con eso dais en hilaros e1 seso, en loco vais a parar. Mas siendo tan bravo vos, senor, decfroslo puedo aquf, ya solos(204) los dos: los bravos piensan en Dios s6lo cuando tienen miedo. Miedo yo!.. En este lugar.... 6Qu6 tengo aqui que temer?.. 6o algo has podido creer que miedo me puede dar? Algo que me fascin6 lugar ha tenido aquf; pero ha pasado por mi cual por aqui paso yo. Fue un v6rtigo, y se pas6, y vuelvo mi frente a alzar. Pero yo os ofa hablar. 6Con quién estabais? 2380 2385 2390 2395 2400 2405 2410 250 Juan: Con estos. (For 168 estatuas.) Ciut: iSefior! Juan: Pues para qué puestos tomaron en mi solar1.. Esos fantasmas de piedra huéspedes son en mi casa: 2415 si por el magfn te pasa que porque ahf est6n me arredra como a ti y a los villanos, e1 temor a los difuntos, mientes: contra todos juntos 2420 tengo aliento y tengo manos. *Si volvieran a salir *de las tumbas en que est6n, *aquf, a manos de D. Juan, *volverfan a morir. 2425 **Y desde hoy en adelante(205) ten bien present, truh6n, *que yo soy siempre D. Juan *y no hay cosa que me espante. Ciut; Ved que os esperan allf 2430 vuestros amigos. Juan: Que esperen. De mi parte a todos di que vengan a ver si quieren, lo que voy a hacer aqui. Ciut: Por Dios que volv6is en vos. 2435 Juan: Ahora bien decirte puedo yo a.mi vez, que tienes miedo, pues que te acuerdas de Dios. Va a los vivos a anunciar que, a poder ser, est6n ciertos 2440 de cenar.hoy con mis muertos, pues los voy a convidar. *Ciut: Dejaos de esas quimera! *Juan: 6Duda en mi valor ponerme *cuando hombre soy para hacerme 2445 **platos con sus calaveras?(206) *Yo a nada tengo pavor. (A la est6tua de D. Gonzalo.) *Tu eres e1 m6s ofendido: *mas si quieres, te convido *a cenar, Comendador. 2450 *Que no lo puedas hacer *creo, y es lo que me pesa; 251 *mas por mi parte, en la mesa *te har6 un cubierto poner. *Y a fe que favor me har6s, 2455 *pues podré saber de ti *si hay m6s mundo que el de aqui **u otra vida en que jam6s(207) *a decir verdad cref. **Ciut: Sefior, eso no es valor;(208) 2460 *locura, delirio es! Juan: Precédeme al comedor y anunciame. (Corre glutt; espantado.) -Hasta después: (A la est6tua.) *lo dicho, Comendador.(209) Acto 39 Cuadro 69(210) Escena I? Ciutti, Estudiantes 19, 2?, y 39 Ciutti: Por lo m6s santo, sefiores,(211) 2465 as juro que asi paso y que es verdad. Estudte 2°: (212) 6Don Juan convida al Comendor a cenar? Ciutti: sf. Estudte 1°: 6Y se detiene por eso en el panteon? 2470 Ciutti: Sf, y a deciroslo vine de su parte. Estudte 1°: Pues Senor, si e1 convite por lo serio habéis tomado los dos, o habéis hecho algfin esceso 2475 0 e1 miedo os alucin6. Ciutti: Decfdselo a 61: yo os di;e(213 lo que a deciros me envio. Estudte 1o Ciutti: Estudte 3°: Ciutti: Estudte 1°: D. Juan: Estudte 1°: Estudte 2°: D. Juan: 252 Convidar a un muerto, puede(214) ser una profanaci6n. 2480 dar a una est6tua de piedra cita en este comedor, no es probar que se es valiente, sino que se es fanfarr6n, pues que ni muerto ni est6tua 2485 pueden escuchar su voz, ni abandonar m6s el sitio donde se les coloc6; no pasa, pues, de una broma, y no del gusto mejor. 2490 Yo a1 cont6roslo, sefiores, cumplf con mi obligaci6n me resta, para cumplirla bien, aquf al comendador poner un cubierto. Es 6rder 2495 de don Juan.(215) Lo es. Y es por Dios e1 llevar la broma o la(216) hasta la exa eraci6n. Decfdselo as : ahi viene. Escena 2? Dichos -- Don Juan. Heme aqui. Gracias a Dios! 2500 Senor don Juan! Ya esper6bamos hasta con af6n por vos. $6 bien que hacerse esperar no es de buena educaci6n pero como de mi casa 2505 afios ha que ausente estoy, de ella andube recorriendo hasta el ultimo rinc6n para enterarme de c6mo mi padre me la dej6. 2510 Mas como en verdad me pesa(217) de haberos hecho esperar, Todos: D. Juan: Estudte 1°: D. Juan: Estudte 1°: D. Juan: Est. 1 D. Juan. Est. 2°: D. Juan: Est. 1°: D. Juan: Est. 2°: 253 lo mejor ser6 cenar: conque vamos a la mesa. vamos.(218) Qu6 poco galantes 2515 sois! Damas no habéis trafdo. No nos hemos atrevido. Creéis que sois estudiantes todavfa y que respeto me debéis? pues mi partido 2520 no tomasteis? no habéis sido mis valedores y objeto de ve aciones tal vez, por m a1 fugarme? Es asi. Siempre os quisimos! Pardiez! 2525 Por gratitud de ello, aquf os reunf, caballeros. Y a1 volver pl6ceme hallaros (219,220) bien puestos. (221) Gracias don Juan. Pero cenemos: no 56 ' 2530 si bien Ciutti os tratara pues todo a su cargo esta. Que os sirve bien ya se ve, pues lo traéis. Se propasa alguna vez, mas es buena 2535 su voluntad. Yo en la cena no pongo m6s que la casa y los vinos que he comprado no creo pues que os asombre que me proponga ser hombre 2540 bien en casa acompafiado. Como lo puede mostrar vuestra agradable presencia.(222) Que eSpero que con frecuencia me hag6is todos disfrutar. 2545 Y nos haréis honra inmensa. Juan: Ciutti: Juan: Estudte 1°: D. Juan: Estudte 1°: D. Juan: Estudte 10: Estudte 2°: D. Juan: Coro: 254 Y a mi vos. Ciutti. Sefior. Pon vino al comendador.(sic) Don Juan, afin en eso piensa vuestra locura? sf a fe! 2550 Que si 61 no puede venir, de mi no podréis decir que en ausencia no le honr6. J6, 36, 361 Senor Tenorio est6is cierto de que entera 2555 tenéis vuestra raz6n?(223) FUera en mi bien(224) contradictorio(225) y ageno de mi hidalqufa a un amigo convidar y no guardarle e1 lugar 2560 mientras que llegar podrfa. (226) Tal ha sido mi costumbre siempre, y siempre ha de ser 636; y el mirar sin 61 la.mesa me da en verdad pesadumbre. 2565 Porque 51 e1 Comendador es difunto tan tenaz como vivo, es muy capaz de seguirnos e1 humor. Brindemos, y su memoria, 2570 don Juan, a1 olvido echemos. Que nos espere en la gloria por muchos afios. Brindemos. Mfisica. Brindemos, brindemos a1 tiempo feliz 2575 que ni ve pasado ni cree en porvenir. Estrofa. 255 D. Juan: 6Qu6 es nuestra vida? brisa fugaz, gota perdida 2580 que cae a1 mar. Qu6 porvenir esconde no preguntéis jam6s: marchad sin ver a d6nde y sin mirar atr6s. 2585 Vivamos y brindemos pues hemos de morir: a1 porvenir dejemos, dejémosle venir. Coro: Brindemos Etc. D. Juan: 6Llamaron?(227) (Llaman.) Ciutti: sf. D. Juan: Quién es mira. 2590 Tienes miedo? Ciutti: Es que... D. Juan: Qu6 es? Ciutti: Que en la puerta de la calle, donde llamaron no fue. D. Juan: Pues d6nde?(228) Ciutti: En el postigo del pante6n. Estudte 1°: ’ Por San Andrésl 2595 iQue dices? Ciutti: Lo cierto digo. D. Juan: iQue sea el muerto creéis? Estudte 1°: Yo no creo nada: mas.... D. Juan: Mas tenéis miedo? (Llaman) (229) Ciutti: iOtra vez?(230) te 1o : Senor don Juan, aqui hay algo 2600 que no comprendemos bien. Estud D. Juan: Tal vez lo comprendo yo. Vosotros dispuesta habéis alguna farsa, sabiendo que yo a1 muerto convid6. 2605 Estudte 1°: Estudte 2°: Estudte 3°: D. Juan: Estudte 1°: D. Juan: Estudte 1°: D. Juan: Estudte 1°: Coro: D. Juan: Coro: 256 Yo os juro.(231) Y yo! Y yo! No importa: los cerrojos echar6: (232) muerto o vivo, si ha de entrar, ser6 del muro a trav6s. Qu6 diablos! Tenéis raz6n: bebamos . Confes6is, pues. que es farsa vuestra? Confieso que en tanto que no pensé en que vos, si no nosotros, prepar6rnosla pod6is, tuve un poco de aprensi6n. Pues a la.mesa volved y sigamos(233) con la cena. Y brindemos otra vez. Mfisica. Bebamos, brindemos a la juventud, que a1 fin de la vida no ve e1 atahud. Mar es la vida limpia(234) y azul: barca perdida 1a juventud. Y va sin ver jwm6s por 61 sin inquietud delante ni detr6s la sombra ni la luz. Bebamos y boguemos a nuestro fin comun, y al atahud(235) bajemos sin ver el atahud. Brindemos Etc. (Llaman.) 2610 2615 2620 2625 2630 2635 257 Hablado. Estudte 1°: Con porffa lo han cojido! D. Juan: Para broma es ya pesada. Ciutti: Sf senor; esa aldabada **en esa antesala ha sido. (236) Estudte 1°: Yo no me(237) 2640 Ciutti: Yo ya moverme no puedo... D. Juan: Yo creo que tenéis miedo de veras... pero mi casa es s6lida 10 bastante. (Llaman. ) --0tra vez! a qu6 llamar? los muertos se han de filtrar 2645 por la pared. --adelante. (Aparece la est6tua de don Gonzalo pasando a través de la pared o la puerta sin ruido, detr6s de don Juan.) **Ciutti:(238) Jesfis! (Cayendo.) **Estudt° 1°:(239) Dios mfo! (929.) **Estudt° 2°:(240) Qu6 es esto? (Egggg donmidos.) **Estudt°3 o :(241) Yo desfallezco. *Estudte 1°:(242) Yo espiro. Escena 3° Dichos y Don Gonzalo D. Juan: (Ve 1a est6tua a1 volverse y dice:) Ay de mi! suefio; deliro! 0 es 611 es su faz--su gesto. 2650 *Gonz: Aun(243) lo dudas? D. Juan: No 10 $6. *Gonz: Pon, si quieres, hombre impfo, *tu mano en el m6rmol frfo *de mi est6tua. 258 *D. Juan: Para qu6? *Me basta ofrlo de ti. 2655 Gonz: Oye pues. D. Juan: Di: mas te advierto.... *Gonz: Qu6? *D. Juan: Que si no eres e1 muerto, *Gonz: *D. Juan: *Gonz: *lo vas a salir de aqui.-- **Eh1 alzaosl(244,245) No pienses, no, *que se levanten, don Juan, 2660 *porque en sf no volver6n *hasta que me ausente yo. *Al sacrflego convite *que me has hecho en el pante6n, (246) para alumbrar tu raz6n 2665 **Dios acudir me permite. (247 **Y en su divina clemencia(24 ) y a ruegos de dofia Inés **te concede un plazo: y es( 9) **una hora m6s de existencia. 250) 2670 Aprovéchala, don Juan, un punto de contrici6n da a un alma la salvaci6n: y tus instantes se van.-- Adios(251)--dentro de una hora 2675 **tienes, don Juan, que morir: (252) ve si te has de arrentir-- Dios to da tiempo--Y ahora **de 61 1a Justicia infinita(253) *por que(254) conozcas mejor, 2680 *espero de tu valor **que me vuelvas la visita--(255) *6Ir6s, don Juan? Ir6, sf: (Reponiéndose.) *mas me quiero convencer *de lo vago de tu ser 2685 *antes que salgas de aqui. (Co 6 29222122224 Tu necio orgullo delira, *don Juan: (sic) hierros m6s gruesos *y las (sic) muros m6s espesos(256) *se abren a.mi paso; mira. 2690 (Desaparece.) Escena 4? 259 Don Juan--Ciutti y coros dormidos. *D. Juan: Cielos! Su esencia se trueca *el muro hasta penetrar *cual mancha de agua que seca *el ardor canicular! --Pero no--son desvarfos de mi mente que enloquece: ila piedra se desvanece! No, no: son delirios mics-- Me vuelvo loco sin duda: mi infinito amor a Inés me vuelve e1 juicio: eso es, iay de mi! no hay quien me acuda!.. (Aparece dofia In6s en sombra, tras de gasas. ) Escena 5° Dichos--Dofia lnés. Inés: Yo, don Juan. D. Juan: Ella! es Inés-- Inés Por ti en espfritu velo: arrepiéntete, y el cielo te abrir6: rfndete pues. *Un punto se necesita **para morir bien--medita(257)8 **lo que aqui a1 Comendador(258 ) *has ofdo, y ten valor *para acudir a su cita. Adios, y baja a1 pante6n: allf has de ir a fenecer, y allf se ha de resolver tu gracia o condenaci6n. (pesaparece. ) *D. Juan: Tente, dofia Inés, espera, *y si me amas en verdad, *hazme a1 fin la realidad *distinguir de la quimera. 1Ay! me estoy volviendo 1000(259) con este suefio divino: y lo que suefio, imagino que lo veo y que lo toco. 0 acaso todo(260) esto ha sido(261) por estos bien preparado y mientras se ha ejecutado su privaci6n han fingido! 2695 2700 2705 2710 2715 2720 2725 260 **Bues por Dios que si es asf(262) *se han de acordar de don Juan. --Ciutti--(263) Ciutti: Sefior.(264) D. Juan: Capit6n. 2730 Estudte 1°: Qui6n es? D. Juan: Yo..alzaos de ahi. *Estudte 2°: Hola! sois vos! D. Juan: Yo. Estudte 1°: I ’ 2 Qu6 pasa? *Que sucedio? Donde estamos? D. Juan: Caballeros, claros vamos. *Yo as he trafdo a mi casa, 2735 *y temo que a ella a1 venir *con artificio apostada *habéis sin duda pensado *a costa mfa refr: ’ *mas basta ya de ficcion, 2740 *y conclufd de una vez. *Estudt° 1°: Yo no 03 entiendo. *Estudte °: Pardiez! A *tampoco yo. *D. Juan: ’ En conclusi6n. *Nada habeis visto ni oido? *1odos: De qu6? *D. Juan: No finj6is m6s. 2745 *Estudte 1°: Yo no he fingido jam6s, sefior don Juan. *D. Juan: iHabr6 sido *realidad! Estudte 1°: 31 hab6is pensado hacernos creer que han venido *fantasmas, lo sucedido 2750 *ofd como me he esplicado. *Yo he perdido aqui del todo *los sentidos, sin esceso *de ninguna especia, y eso *lo entiendo yo de este modo. 2755 *D. Juan: te 1o *Estud *Estudte 2°: *D. Juan: *Estudte 1°: *D. Juan: *Estudte 1°: *D. Juan: *Todos: 1‘vi-D. Juan: %Estudt° 2°: te 10. *Estud *D. Juan: *Estudte 1°: *D. Juan: *Estudte 1°: *D. Juan: 261 A ver, decfdmelo pues. Vos habéis compuesto el vino, *semejante desatino *para encajarnos(265) después. 2760 Soy de la misma opini6n. Mentfs! V08. V08, Capit6n. Esa palabra, don Juan... La he dicho de coraz6n. *Mentfs: no son a mis brfos *menester falsos portentos, *porque, tienen mis alientos *su mejor prueba en ser mfos. 2765 Veamos. (Ponen mano a las espadas.)(266) Poned a tasa *vuestra furia, y vamos fuera, *no piense después cualquiera *que os asesin6 en mi casa. 2770 Decfs bien...mas somos dos.(267) Refiiremos, si os ffais, *el uno del otro en pos. 2775 0 los dos, como quer6is. Villano fuera por Dios! *Elegid uno, don Juan, *por primero. Sedlo vos. Vamos. Vamos, Capit6n. (268) 262 Don Juan Tenorio Acto 3° Cuadro 7° y 6ltimo.(269) El pante6n de los Tenorios como estaba en el Cuadro 5°, menos las est6tuas de D. Gonzalo y de Da Inés que no est6n en su lugar. Escena 1a Sale D. Juan por entre los sepulcros descompuesto y desatentado. D. Juan: Ya no 86 como existo...lo pasado no alcanza a concebir mi pensamiento: no 86 si los he muerto 0 me han matado. *Arrebatado a mi pesar me siento *por v6rtigo infernal: mi alma perdida **cruza ya los confines de la vida(270) *cual hoja seca que arrebata el viento. Qu16n soy a1 ir rodando hacia el abismo? Mi sombra--1a fantasma de mi mismo! Estoy vivo? Estoy muerto? o ebrio o 1000? No 10 sé...ya a mi fin acaso toco. *Jam6s cref en fantasmas...desvarios! *mas del fantasma aquel, pese a mi aliento *los pies de piedra caminando siento *por do quiera que voy tras de los mfos. *Ah! y me atrae a este sitio irrestible *misterioso poder. --Pero qu6 veo? *falta de allf su est6tua. --Suefio horrible, déjame o aniquilame, mis brfos me abandonan --ya dudo...si es posible! si es verdad!. .ay de mi! no 56 si creo, si rio insano 0 si mis culpas lloro: no 56 si vivo aun, ni si oigo y veo, no $6 $1 niego a D105 o 31 1e adoro. Sombra, visi6n, espfritu, apariencia vital de dona In63...6p0rqu6 me tienes abandonado aqui? T6 la clemencia me ofreciste de Dios...6porqu6 no vienes? *La efigie de esa tumba me ha invitado(271) *a venir a buscar prueba m6s cierta 2780 2785 2790 2795 2800 2805 263 *de la verdad en que dudé obstinado, 2810 e Inés venir aqui ma ha aconsejado. *Héme aqui, pues: Comendador, despierta. Escena 2a Dicho: D. Gonzalo y Muertos.(272) *Gon: Aqui me tienes don Juan, *y h6 aqui que vienen conmigo *los que tu eterno castigo 2815 *de Dios reclamando est6n. 2*Juan: Diosl(273) Gon: Es tu postrer af6n. Tienes un instante a6n: aprovéchale seg6n estos y Dios te le dan. 2820 Juan: Diosl. . a quien negué hasta ahora, a quien jam6s me volvi, c6mo ay de mi! en esta hora se ha de volver Dios a mi? Gon: Ya tu postrer aliento(274) 2825 don Juan, se est6 agotando: tu fin est6 esperando con fruici6n Sat6n. (Campanas a muerto.) H6sica. Coro: Te va el postrer aliento, don Juan abandonando: 2830 te estamos esperando con despechado af6n. **Juan: Y c6mo en un momento(275) **mis treinta anos malditos(276) **de vicios y delitos(277) 2835 perd6n alcanzar6n? Gon: Un 6ltimo momento te otorga Dios en vano: Don Juan, dame tu mano, *y al juicio eterno ven. 2840 Juan: Aparta, piedra esquiva: ya a Dios mis ojos ven. 264 Gon: Tu orgullo te derriba en las tinieblas, ven. Juan: 0h, sombra compasiva, 2845 a socorrerme ven. Gon: Es tarde: Dios te priva del 61timo sostén. Juan: Dios mio! fuente viva!(278) y manantial del bien! 2850 de mi alma fugitiva misericordia ten. Escena 3a Dichos y Dofia Inés. (Agarece 1a apdteosis a1 salir D Inés.)(279) Inés: Dios oye tu plegaria y ante 61 conmigo vas. Cohorte funeraria, 2855 genios del mal, atr6s! Juan: Bendito t6, bendito(280) que a1 pecador abonas, a1 criminal perdonas y salvas a dnn Juan. 2860 Transformaci6n (Coro de Sras, dentro al 6rgano.)(281) NOTES (1) In the 1877 edition, the printer inserted the heading Actores over this column; the 1943 version, how- ever follows, in this instance, the outline of the MS. (2) The character Gast6n is missing from the list in the MS but is included in both editions. (3) In the 1877 edition this comment was converted by the printer into a footnote. I have not incorporated these notas at the end of my text, for they do not ap- pear in either the MS or in the two copies of the first edition that I have handled. Alonso Cort6s includes the notes in his edition of Zorrilla's Obras completas. (4) The MS and both editions indicate here the name of D. Luis; I believe, however, that it should read D. Juan, for the Estudiantes, as seen throughout the remainder of the work, favor the protagonist D. Juan over D. Luis. The changing of the name would in no way alter the syllable count. (5) "si en concluyendo 1a carta." The sense of the passage is obviously not altered by Zorrilla's substituting acabando for concluyendo. However, since the remainder of this redondilla is quoted verbatim from the play, it would seem that Zorrilla would not have changed intentionally only one word. (6) "que mis instrucciones sabe." Whether the change in this instance was intentional or not cannot be defini- tively determined; however, the use in the play of instruc- ciones as opposed to intenciones in the zarzuela tends to add some insight into the outgoing, forceful personality of the protagonist of the play. (7) This idea of Tenorio primogenital tradition originates for Zorrilla's zarzuela in CantoX of his Lezenda. (8) The 1877 edition merely has 622123, while the 1943 edition indicates "6T6 ya?..." Therefore, the prin- cipal difference appears between the MS and the 1943 text. The comment by D. Juan in the MS reveals more of the per- sonality of the protagonist, whereas, the one pronounced by D. Juan in the 1943 version sheds light on both characters. (9) Lines 131-134 do not appear in either of the two published editions. Its inclusion in the text only strength- ens the idea stated in the first redondilla of this scene. The fact that neither edition includes them would cause one to believe that Alonso Cortés based his text on the 1877 version. This comment will be mentioned again and elab- orated upon in subsequent notes. 266 (10) ’Both published texts have the stage directions: "Vase poniendose e1 antifaz." (11) See note 7. (12) Lines 159-162 were omitted from both editions. They explain the reason for Diego's entering the scene, in addition to placing emphasis on the independent spirit of D. Juan. (13) The idea of the century old conflict between the Tenorios and the Ulloas is based on Cantos VI and VII of the Leyenda. (14) Much discrepancy appears between the directions here and those indicated in the published texts. These read as follows: "D. Gonzalo y D. Diego, en sus puestos: los Comendadores, Caballeros, et., por la izquierda, los Estudiantes, Militares, etc., por la derecha, trayendo por delante y empu36ndola a la Jacarilla." The directions, with regard to the entrance of the two groups, are reversed: that is, according to the MS, Zorrilla wishes to maintain symbolically the original setting of having the house of the Tenorios on the left and the Encomienda on the right. (15) In the MS no speaker is named for this passage although space was provided for the name, and even the colon, which was to have followed the intended speaker's name, still remains. The 1877 and 1943 editions indicate that it is to be sung by the Estudiantes. This would be the logical group for two reasons: first, lines 219 and 220 refer to their going to welcome D. Juan, and the pro- tagonist is the mentor of this group: second, the subse- quent selection is sung by the Comendadores who, opposed to D. Juan, eXpress this feeling in lines 227-230. For purposes of balance and contrast both groups would have to present their feelings here as was done in the opening scene of the zarzuela. (16) In the two published versions, five lines, not included in the MS, preced line 249. They are the follow- ing: Y en Sevilla a quien opuesto a la ley, contra la ley sin reparos echa e1 resto, sin rival el primer puesto le da el pueblo como el rey. I am unable to eXplain their origin. (17) The idea for these two lines is directly based on a passage in the leyenda, Margarita la tornera, where the author describes the character Juan de Alarcon: 267 el cuc6 de las doncellas y el coco de los maridos. This work, according to Zorrilla--" es la.m6s conocida de mis leyendas: es el embri6n original del Tenorio y en 61 copié algunos versos de ella, que despu6s han llegado a hacerse populares y a andar de boca en boca"--was to be the outline for the play 993 Juan Tenorio. (18) The MS reads "su entierro" and the two texts, "e1 entierro." (19) The two editions contain five additional lines which come between lines 267 and 268. They are: En Espana el que es famoso por valiente, por gal6n, por eSp16ndido y rumboso, sexo feo y sexo hermoso lleva en pos, como don Juan. (20) Lines 268-270 appear slightly different from the analogous passages of the two editions which read: Por eso van los hombres y las hembras tras de don Juan. The difference in meaning and significance is considerable, for in the published texts, Jacarilla attempts to elevate the protagonist to the level of mentor; whereas, in the MS, she tends more to emphasize subtly the forceful aspect of D. Juan and to temper the idealization of him. (21) "Esa silla est6 comprada" (22) "Yo soy don Juan." "Yo don Luis." In the play version, the line consists of the necessary eight syllables, but in the zarzuela, it is an imperfect verse. (23) Zorrilla calls to mind the Italian wine, Siracusa, as he does in other works such as Juan Dandolo. (24) The two published texts include the stage direc- tions (Bebe.) at the end of this line: it appears not in the MS. (25) Again, there appears a line found in the two texts, but not in the MS. It would fit between lines 422 and 423 of the MS. It reads: "y es mal hecho y es mal dicho. (26) In the 1877 edition the last word of this line is reduce, but the 1943 text maintains the deduce of the MS. This is quite interesting in that up to this point, the 1943 version follows exactly the first edition. How- ever, from this point on, the discrepancies between the two published texts become more frequent. 268 (27) "yo a las cabafias bajé" (28) "yo a los palacios subi" (29) "yo a los claustros escal6." (30) "aunque, a mi ver, poco ir6." (31) "y cual vos, por donde fui“ This change occurs primarily due to the fact that in the play this line begins a new sentence, while in the zarzuela, itis a continuation of a sentence begun in the previous line. (32) "por una linea apartados" (33) "traigo los nombres sentados" (34) "mis cuentas traigo en el mio." The change from traigo to "os di" takes place because the accounts are not to be read publicly, but were sent to each other earlier. This was related by Gonzalo in lines 163-170. (35) In the MS between lines 503 and 504 there are ten lines which do not appear in either edition. They are: Juan: Contad. Luis: Contad. Juan: Veintitres. Luis: Son los muertos. 6A ver vos? iPor 1a cruz de san Andrés! Aqui sumo treinta y dos. Juan: Son los muertos. Luis: iMatar es! Juan: Nueve 0s llevo. ’ Luis: Me venceis. Pasemos a las conquistas. Juan: Sumo aqui cincuenta y seis. Luis: Y yo sumo en vuestraslistas setenta y dos. Juan: iPues perdéis! Zorrilla copied this passage from the analogous scene of the play. I believe that it can safely be said that 20- rrilla had planned to eliminate these lines from the MS, but for one reason or another, he never did. They should be omitted principally because they contradict what pre- cedes the passage a few lines earlier; that is, lines 412-432. Also, it can be said with a considerable degree of certainty that this passage did not figure in the gag- zuela when it was presented in 1877 because in his review of the estreno, Peregrin Garcia Cadena states: "en efecto, e1 D. Juan Tenorio de la zarzuela ha modificado singular- mente su caracter irreflexivo. Ya no gusta de referir como un maton de taberna, entre vaso y vaso de vino, la historia documentada de sus maldades, y hasta llega a 269 protestar explicita y severamente contra este que parecia en el vicio caduco e incorregible." For these two reasons I have taken the liberty to remove the ten lines from the text. (36) "30h! Y vuestra lista es cabal." In the play this is a new sentence. (37) "otro para abandonarlas." (38) "Para darlo por perdido.“ Zorrilla is quite inconsistent in his use of IQ and IQ when they are used as a direct object pronoun for an inanimate item. (39) Both editions include the following directions at this point: (Con intencion.). (40) The two published texts indicate erratas in- stead of the singular form as found in the MS. To main- tain a true consonantal rhyme pattern, the plural form is the preferred one, for it would fit the-atas pattern of bravatas and insensatas in lines 546 and 547. (41) Stage directions again are missing from the MS: (Levantandose.). (42) See note 41: (IQ.). (43) In the MS no speaker is provided for this question; logically, however, it belongs to Ciutti as the two editions indicate. (44) "Pues va la vida." (45) "porque me siento capaz" (46) "y pues hay tiempo, advertir" (47) The eXpression "a mi vez" appears as such in the MS and the 1943 edition: in the 1877 version, however, it reads "a.mi voz." This may simply be a typographical error. (48) "que yo no as he ido a pedir" (49) "en apuesta" (50) The two published versions read: "con que am. bos muramos." The difference obviously is between "con que" and aunque: that is, with the former, Luis implies a more deterministic feeling, whereas, the latter shows more hesitance. Thus, it clearly affects the interpretation of the personality of Luis. 270 (51) Zorrilla originally planned to use the title Destreza for this cuadro. I believe this was changed to Serenata y pendencia for two fundamental reasons. In the first place, it was altered for practical purposes; that is, to avoid as much repetition as possible of the play: Destreza is the title of Act II in the 1844 work. Second, the new title of the cuadro is more inclusive and more meaningful for the zarzuela since this cuadro begins with the song of the students, the serenata of D. Juan to Ana, and it ends with pendencia between the groups of D. Juan and D. Luis. (53) The two published texts end this direction in this manner: "una puerta y una reja, todas practicables." (52) The difference occurring here is between the 1877 edition on one hand and the'MS and the 1943 edition on the other. The 1877 version reads: "hay en la de la izquierda una reja y en la derecha...." This version employs the nominalization of derecha and consequently does away with the parallel form that exists in the MS. (54) See note 7. (55) The 1877 version ends this line with.the word mayormo which obviously is a typographical error. (56) "Llegaos; don Juan soy yo." (57) "For vos lo hablo." It seems curious that in the play, D. Juan employs both the vosotros and 36 forms while speaking with Brigida. In the zarzuela be con- sistently uses 36. (58) "es ese Ciutti." (59) "6N0 os ha entregado un bolsillo." See note 57. (60) Here appears the traditional controversy about words beginning with h: horarig and orario. The two texts use the latter. Although phonetically it makes no differ- ence, the latter has a meaning completely distinct from that of the former. (61) "Con tal mafia y de manera" (62) Both published texts consider lines 871-874 to be part of what in the MS is the first sentence of Br gi- da's answer to D. Juan. Grammatically speaking, this pas- sage must consist of at least two sentences. If it were to be presented as one statement, the punctuation would obviously have to be altered and a conjunction, probably a coordinating conjunction, would be supplied at the be- ginning of the secnnd part. 1“.- rllll '11" '11-! ill. «I'ldlill. A . 1 f1 ‘1' I111. 271 (63) "y la has dicho." (64) The direction (Insimism6ndose.)(sic) is not in the HS. ~ (65) The direction (Pausa.) is not indicated in the MS. (66) "0s estoy oyendo." This is due to the previous three syllable line. (67) Again, the direction (Ensimismado.) is not stated in the MS. (68) "Ias madres." (69) "saltando al huerto, a1 convento" The play usage of saltar connotes a more energetic impression of the protagonist. (71) "en nuestra celda." Both published texts of the zarzuela and the play state this in the manner indicated. There is obviously a difference in meaning between the use of gg and 22g, FTom the preceding lines in which Brigida gives directions to D. Juana the logical from would be £29, for the meaning implied is you will find" and not "you will enter." (70) "de un claustro oscuro y estrecho / es; seguidle bien derecho." (ls. 944-945). (72) The stage directions for Ciutti (Después g9 una paus .) are not stated in the MS. . (73) The two published texts show this to be “vuestros servicio." If this had appeared only in one of them, one could easily say that it was a minor typographical error; however, it is present in both. This may be partial evi- dence for stating that Alonso Cortés used the 1877 edition instead of the MS for preparing his text. (74) Lines 1002-1005 are based on facts and ideas presented in Canto VII of the Leyenda. (75) This is a foreshadowing of the title of Act II, Cuadro 4 of the zarzuela and a justification of the action which is to occurin the cuadro. (76) The two published texts indicate that this line ends "va a ver." The change really does not alter extremely the meaning of the passage. Phonetically it would be vir- tually identical, and it is quite possible that this was how the change occurred in the first place. This also serves 272 as a minor point in supporting the statement made in note 73 about Alonso Cortés. (77) Instead of va, the two editinns have vase. This could very easily be the printer' 5 attempt, at least with the first edition, to "correct" the language of the poet. (78) “Dona Ana de Pantoja, y..." This line and the one from the zarzuela could serve as valuable pieces of evidence in studying the change which occurred in Zorrilla's concept of versification. Supposedly, they both contain eight syllables; for this to be possible, however, in the line from the play, there would have to be a hiatus made between Dona and Ana, which is quite unlikely, and also synalepha between Pantoja and y. The verse from the zar- zuela is the better--even though neither one is really first rate-~due to its directness and simplicity. It is a "verso agudo" and no problem is really presented, as far as syllable count is concerned, for it fits quite well within the traditional eight-syllable line scheme. (79) The following stage directions are not included in the MS: (Interrumpiendole mgy g tiempo.). (80) As in note 79, (Espiéndole.) is not indicated. (81) Both the editions have the word fragg6 for tra o. Fragg6 would perhaps be better since it refers to traici n: the MS indicates, however, trajo. I will concede hat in the MS the initial letter t does resemble an f, and the 1 could have very easily been mistaken for a g. This does not explain, however, the insertion of the nghich defi- nitely does not appear in the MS, nor is there any possible suggestion of it. As indicated earlier, this could be another item that would confirm the thesis that Alonso Cor- tes used the 1877 edition. (82) The word eterno as found in the MS becomes transposed to interno in both published editions. The change in meaning of the passages is simply the differ- ence between the two words. (83) The directions (a Dona Ana.) are not stated in the MS. (84) As in note 83, neither does (Cerrando.) appear in the MS. (85) (6.22 Juan.) is also absent from the MS. (86) The directions (A los suyos, calle derecha.) are not indicated in the MS. 273 (87) (A los suyos, calle izquierda.) does not appear in the MS. ' (88) What appears as lines 1208 and 1209 in the MS is completely incongruous with the two published editions which, however, do coincide with each other. The two texts read: a. Juan: iTarde venis! b. Luis: Aun hay tiempo. 0. Juan: No, don Luis. (1. Luis: iA mf! e. Juan: iA mf! f. Alc; iTénganse a116! In the first place, line a stands as one line in itself; that is, the other surrounding lines contain eight sylla- bles, while this one has only five. Of course, we have to remember that this passage is adapted to music, but, nevertheless, it seems strange that of sixty-three octo- syllabic lines, one has to be pentasyllabic. The way it is arranged in the MS, all of these lines fulfill the expected count of eight syllables. Second, line b in the MS makes up the additinnal four syllables to make line a octosyllabic. Line 0 in the MS, begins a new line to becnmpleted octosyllabically by lines d and e. Line §_does not ap- pear at all in the MS. (89) The two published texts use--instead of Todos—- D. Juan, D. Luis, y los suyos which, in reality, consti- tute Todos. (90) The directions (Cojiéndole por detras y amor- dazandole. ) do not appear in the MS. (91) All three versions indicate this line to be a continuation of the previous "iiAhli" pronounced by D. Luis. Practically and logically speaking, it is unlikely that Luis would be laughing at his being deceived and captured. 1 shall not take the liberty at this time to alter the speaker, but for all practical purposes, this line could very easily be eXpressed by D. Juan, Ciutti, the students or all of them combined. (92) Both editions state here: "Fin del Acto pri- mero. (93) Originally Zorrilla had labeled this cuadro with the title Profanaci6n, but later this was changed to the present Serpiente y paloma. A partial eXplanation of the purpose behind the change could very easily be that the author, as suggested in note 51, desired to avoid as much overt repetition in format as possible; for the title of the same act in the play is Profanaci6n. Second, the change could have occurred for symbolic purposes; that is, 274 the new title would represent more vividly the actual con- flict that takes place in this cuadro—-the conflict between the human and the divine, between the physical and the spiritual, not only between D. Juan and Inés, but within Inés herself. It is obviously the traditional struggle between the two Biblical figures of the serpent and the dove. (94) In the comments on the setting, not present in the MS but indicated in the two edition is the reclinatorio of Inés. (95) In the published versions it is "Coro de mujeres." (96) Between the musica and the first line of the text, there appear the following stage directions in the two editions: (Dofia Inés arrodillada en el reclinatorio mientras canta el coro dentro. (97) In the two published texts this passage sung by the "coro, dentro" is outlined in Alexandrine verse, whereas, in the MS, it is of seven syllables. (98) These directions in the two texts do not appear until the coro has concluded its litany. Also, the subse- quent passage _in the MS--lines 1238-1256--comes at the end of the litany. Again, as stated several times earlier, this could be another example to substantiate the thesis concerning the edition of Alonso Cortés. (99) The two editions indicate this line--which in their version is the second part of the Alexandrine--to be: "la casa de tus siervas ampara y el altar." Frankly, I cannot explain how the change occurred, but, nevertheless, the line of the MS is a better one, for the manner in which the line of the two texts reads, seems as if the "y el altar" was added as an afterthought or merely to carry out a given syllable and rhyme pattern. (100) There appears in the two texts an additional four Alexandrine hues of the litany of the coro. They are: Senor, tu que amaneces, con el albor del alba sostén del universo y germen de la luz, escucha nuestras preces, y nuestro templo salva por la divina sangre del que murio en la cruz. These do not figure in the MS. (101) "Y hoy la echo menos...acaso" (102) Lines 1285 and 1286 of the us are different from those of the two editions which read: 275 que en pasando a1 noviciado servidumbre no tendré. The basic idea between the two passages is quite similar. The two lines in the MS are taken verbatim from the anal- ogous scene of the play. (103) It seems quite interesting that her in line 1291 Dofia Ines questions Brigida by using the vosotros form, while seven lines later (1298) she resorts to the traditional tu which is maintained throughout the remainder