The Spanish dramatist Tirso de Molina (1584-1648), to whom is attributed the initiation of the Don Juan theme, ranks as one of the three greatest dramatists of Spain's Golden Age of literature.The ide...
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In the following essay, Wade discusses de Molina's life and work, focusing on how he used his genius to serve humanity.
Tirso de Molina (born Gabriel Téllez) died in 1648. The tercent...
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In the following essay, Marni considers the question of whether or not counterpassion (the principal that considers if a punishment fits a crime) was used in de Molina's El burlador de Sevilla....
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In the following essay, Sedwick concludes that neither de Molina's El burlador nor Mozart's Don Giovanni ultimately define the concept of Don Juan.
Tirso de Molina's Burlador d...
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In the following essay, Wardropper presents an in-depth discussion of de Molina's El burlador de Sevilla.
“Todo este mundo es errar.”1
The point about Tirso's Don Jua...
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In the following essay, Hesse examines the possibility that the characters Don Juan and Catalinon in de Molina's El burlador de Sevilla may represent a single psychological entity.
Some year...
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In the following essay, Howe compares de Molina's The Trickster of Seville and the Stone Guest to Zorilla's Don Juan Tenorio, concluding that although the Don Juan plays have very differ...
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In the following essay, Evans discusses how de Molina, through his characters and language, exposes the cruelty and horror of human desire in El burlador de Sevilla.
El burlador de Sevilla shares w...
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In the following essay, Mandrell analyzes the language of El burlador de Sevilla, focusing on de Molina's concerns with how the linguistics of the play affected seventeenth-century Spanish soci...
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In the following essay, Arias examines why both Don Juan and the Commander perish in de Molina's El burlador de Sevilla, concluding that the violence committed by the Commander in the name of G...
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In the following essay, Conlon examines the role of Don Juan in de Molina's El burlador de Sevilla suggesting that Don Juan's lack of motive or purpose in his cruelty towards women indic...
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In the following essay, Metford examines de Molina's religious background, which compelled him to write about the Old Testament, and how his knowledge of the human mind transformed his plays in...
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In the following essay, Wade discusses how priests and other officials of the church wrote erotic Spanish comedies during the Golden Age in spite of the fact that moralists of the time opposed the sub...
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In the following essay, Sullivan concludes that the totality of de Molina's true views on love cannot be determined from his plays.
Tirso studies have been historically bedevilled by a range...
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In the following essay, Chittenden studies the development of female characters in de Molina's plays, outlining their roles and comparing them with one another.
As critics have frequently no...
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In the following essay, Darst concludes that de Molina's use of the word tragedia is more in line with Medieval Latin tradition than Aristotelian precepts.
Tirso de Molina's authorshi...
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In the following essay, Larson considers the implications of cross-dressing in the comedies of de Molina and Sor Juana.
In an article on role change in Calderonian drama, Susan Fischer reminds us t...
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In the following excerpt, McKendrick overviews the plays of de Molina.
Tirso de Molina's world, by contrast with Lope's, is a world peopled by the unusual and the extreme, even bizarr...
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In the following excerpt, Soufas concentrates on de Molina's El condenado por desconfiado and its character Paulo who, in Soufas' essay, clearly defines the seventeenth-century understan...
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In the following essay, Green argues that Tirso's trilogy Las hazañas de los Pizarros is designed to rehabilitate the family name of the Pizarros, principal conquerors of Peru.
The re...
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In the following essay, Singer questions the conclusion drawn by Ruth Lundelius and others that El burlador de Sevilla clearly shows Tirso's misogyny, arguing instead that the play should be se...
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In the following essay, Conlon makes use of Freudian theory about the connection between a person's conception of God and the relationship with one's father to examine the character of t...
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In the following essay, Hathaway finds in the final two plays of Tirso's Santa Juana trilogy early versions of the Don Juan character that would become fully developed in the playwright'...
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In the following essay, Trubiano views El burlador de Sevilla and El condenada por desconfiado as reflective of contemporary debates regarding the relationship between free will and divine grace.
T...
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In the following essay, Resina argues that El burlador de Sevilla reflects the growing social instability of early seventeenth-century Spain.
As an age of transition between social paradigms, the s...
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In the following essay, Abraham deconstructs Amazonas en las Indias, the second play of Tirso's Pizarro trilogy, in order to demonstrate how the playwright privileges European culture and negat...
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In the following essay, Halstead analyzes Tirso's philosophical arguments in El amor médico regarding the connection between vision and love.
Somewhat more than a century and a quarte...
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In the following essay, Allain argues that El burlador de Sevilla is “a carefully constructed aesthetic whole in which form and content are inextricably united.”
It was Tirso de Molin...
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In the following essay, Wade analyzes the character of Don Juan, concluding that the trickster's lone virtue is his courage.
If measured by its progeny in world literature, El burlador de Se...
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In the following essay, Lundelius views the moral weakness of the four women Don Juan seduces in El burlador de Sevilla as proof of Tirso's misogyny.
That Tirso brought before his audiences ...
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In the following essay, González-del-Valle argues that Doña Ana was not seduced by Don Juan in El burlador de Sevilla, observing that to interpret the play otherwise would call its moral...
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In the following essay, Rodríguez concentrates on Don Juan's pattern of “social defiance” in El burlador de Sevilla.
Ortega y Gasset's identification of Don Juan ...
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In the following essay, Ruano de la Haza argues that Don Juan's actions in El burlador de Sevilla suggest that Doña Ana was not seduced by the infamous deceiver.
Was Doña Ana p...
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In the following essay, Martin argues that critics have been incorrect to depict Don Juan as the only villain in El burlador de Sevilla; society and its notion of honor, she insists, are also partly t...
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Tirso de Molina
Critical Essay by Gerald E. Wade
