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sic and use in everyday speech. The number of artistic artefacts which tell the story of the voyage of Don Juan is close to 90! Controversial, elusive and intriguing, during the course of this voyage, Don Giovanni changed class, age and nature, adapting to new social environment, but more than anything else changing the moral which he transmits to the people and citizens of Europe. Other „mythic characters"like Faustus, Don Quixote or Hamlet remain pop symbols of the same paradigms through various contexts. Don Giovanni's fate is different and it is this dynamic fluidity that becomes one of his most essential features. The first well known play where we meet him is El burlador de Sevilla y Convidado de piedra (The Trickster of Seville and the Stone Guest) by Tirso de Molina, written between 1620-1630. The story is set in 14th century Spain and Naples. In this context Don Juan is a cheat, a trickster and a seducer, whose sole purpose in seduction is the dishonour of the seduced women. He is more than a trickster - devil, demon, Satan, were some of the words used by the clergyman de Molina to describe him. His Don Juan is an aristocrat. It is for that reason that his boorish and brutal behaviour - going beyond the established principles of honour and decency - speaks of the crisis of the feudal society caused by the degradation of the nobility who were {„in older and better times") the guardians of feudal order and where the woman (wife and mother) was the pillar of the family and therefore of the whole society. The second famous appearance of Don Juan in European culture is the play by Moliere entitled Don Juan ou le Festin de Pierre (Don Juan or the stone guest) written in 1665. The story is set in Sicily and in it Don Juan's estranged father is still alive, and he also gets a wife, Donna Elvira, who remains his companion in many stories. Moliere's Don Juan displays his seductive powers through language: a flood of words, promises, eloquence, lies, in one word - rhetoric excellence. Unlike de Molina's Don Juan, he does not strive for the destruction of the seduced but rather for his own pleasure and the freedom in playing with the expectations of the society. The important thing that Don Juan tells us in this case is the disappearance of truth, truth being replaced by speech, i.e. the truth of the speech itself. One of the most striking and diverse stories of Don Juan is the one written by Lorenzo Da Ponte as a libretto for Mozart's opera, which opened in Prague in 1787, under the name of Don Giovanni ossia il Dissolute punito (Don Giovanni orThe Rake Punished). Here, Don Giovanni is again an aristocrat but the context is different - this is a new age defined by capitalism, industrial revolution and the rise of the bourgeoisie. In this version he is a middle aged debauched nobleman who has made many amorous conquests, unsuccessful in his last one, so he leaves behind him Donna Ana raped, Donna Elvira suffering and Anna's father the Commandatore murdered. In this work Don Juan is not„outside society"but it is rather the society of debauchery and wilfulness that is crumbling and disappearing. He is very familiar with the game rules of society and when he realizes that he has gone too far, he accepts the inevitable punishment - death - without remorse and without fear. The sentence is passed by the newly emerging society, only a few years before the French Revolution. The most important English encounter with Don Juan is in Lord Byron's epic Don Juan, written in 1818. In his version, Byron places Don Juan in„exotic"surroundings of Greece and the Ottoman Empire, pirates and sultans, which is so typical of the Romantics.... Here we see Don Juan in a different

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