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Set in the 14th century, the play is the earliest fully developed dramatisation of the Don Ju… Information on The Trickster of Seville and the Stone Guest by Tirso de Molina. Lorca: The House of Bernarda Alba. Day 5. Characters: Bernarda’s Daughters. 1875-77), cruel, disloyal, disobedient, and dishonourable. Spain’s Jamón Ibérico. From nobility to peasantry, every effort was made to protect one’s honour since individuals or families could be easily dishonoured even through no fault of their own. She places her faith in her freedom from love. Second Spanish Republic 1931-36. Christ in the House of Martha and Mary. Ferdinand and Isabella: Catholic Monarchs. Painting in Spain’s Golden Age. Completing the CAPTCHA proves you are a human and gives you temporary access to the web property. Góngora. Classification. 996-97). Day 14 Segovia El Burgo de Osma, Travel 2013 Day 15 Berlanga, Baudelio, Gormaz, Travel 2013. Lorca. Military Reform June 1931-November 1933. June 1931-November 1933. What Does the Term Mean? Characters: Bernarda. The king of Spain even elevates Don Juan to count (of Lebrija (Act III, l. 2497) because of the influence of Don Diego (Don Juan’s father,  (Act III, ll. He abuses his friendship with and is disloyal to the Duke Octavio and the Marqués de la Mota, in each case seducing their respective loves, Isabela and Ana, and leaving both to face imprisonment or death (Octavio Act I, ll. Visigoths and Unity: Monarchy. 15th Century. San Juan de la Peña and Alquézar, Travel 2017. Also, Don Juan is clearly a trickster, in all senses of the word. Casa Batlló, Park Güell, La Pedrera. (Both women might be criticised as naïve or gullible, but –it should be remembered— Don Juan is a diabolical figure gifted with extraordinary persuasive powers.). The Immaculate Conception. Gwynne Edwards [bilingual edition in English and Spanish]. Precursors and the “Problem of Spain.”. His arrows are his seductive words, his blindness is to the moral, ethical and theological. Second Spanish Republic. Romances of Chivalry. Golden Age Religious Painting and Italian Influence. Often seen as a distinction between Catholicism and Protestantism, the argument was also fought out in Catholic circles particularly between the Jesuits and the Dominicans, the former favouring free will and the latter leaning more towards predestination. Member of the religious Order of Mercy, Tirso ranks with Lope de Vega and Pedro Calderón de la Barca as the most outstanding dramatist of Spain’s Golden Age. The Trickster of Seville is a play written by Spanish playwright Tirso de Molina, which premiered sometime between 1616 and 1630. San Juan de la Cruz . …Gabriel Téllez), first dramatized the Don Juan legend in his Burlador de Sevilla (1630; “The Trickster of Sevilla”). History, Content, Significance. Introduction and Status Symbol. Its title varies according to the English translation, and it has also been published under the titles The Seducer of Seville and the Stone Guest and The Playboy of Seville and the Stone Guest. Al-Andalus. People’s opinion mattered. Octavio, for example, expresses his fears to his servant, Ripio, as follows: Later, Don Gonzalo angrily confronts Don Juan upon hearing Ana screams that she has been betrayed and her honour is at risk: **The allusion to Cupid is deliberate. 2551-52). Second Spanish Republic. A Spanish Tragedy. Poema de Mío Cid: Is the Cid Spain’s Hero? Quevedo. Characters: La Poncia. Her honour she protects like a delicious fruit in straw (Act I, ll.423-24), a fragile safeguard which significantly goes up in flames with her cottage  (Act I, ll. Agrarian Reform June 1931-November 1933. Early Background. Alemán. Like his literary contemporary Don Quixote, Don Juan did achieve his wish to become famous, although thanks more to later versions than to Tirso’s original. The Trickster of Seville and the Stone Guest / El burlador de Sevilla y el convidado de piedra, ed. Of the various strands of honour that appear in Golden Age comedia (e.g. History of the Jews in Spain. San Baudelio. It became a major theme of Spanish drama (the comedia) of the period and one particularly favoured by Lope de Vega, Spain’s most famous dramatist of the period, and plays a prominent role in one of his most famous dramas, Fuenteovejuna. Octavio, for example, expresses his fears to his servant, Ripio, as follows: “Concerns about Isabela/ worry me, my friend,/ … / my body is never at peace/ guarding whether absent or present (i.e. Summary. La Mezquita. 2070-72). The drama’s power comes from its rapid pace. EL Burlador de Sevilla. [For a summary of the play, click here.]. Zorrilla's Don JuanTenorio shifts away from the moralistic theme of Tirso de Molina's play. Overview. Warminster, Aris and Phillips . In the 16th century, Cupid, disobeys his elders (even the king), pursues his, victims indiscriminately and is indifferent to the. In Seville, Don Juan’s father, Don Diego, is the most powerful figure in the court after the king, a matter that Don Juan plays to his advantage. Second Spanish Republic. Madrid.1631-60. Lorca. Introduction A. Don Juan’s moral compass is severely twisted, despite the veneer of dashing individualism and admirable bravado that Romanticism has showered upon him. Sonnet 1. Arab and Moorish Influence on Spanish Food. Garcilaso de la Vega. The Trickster of Seville, (1618?-1630?) killing the offender. History of Early Christian kingdoms. ************************ Aminta gets a similar promise: “I swear by this hand [of yours my] lady/ … /to carry out my word” (Act III, ll. In El burlador …, Don Juan’s seduction of Isabela, Ana, and Aminta attacks the honour of Octavio (Isabela’s lover), Don Gonzalo (Ana’s father) and Batricio (Aminta’s husband).**. Quevedo. 14th century. Velázquez. Bullfighting in Spain (“Corrida de toros”). The particular emphasis on divine justice regarding Don Juan’s predatory pursuits narrows Tirso’s focus even more: the play is basically a theological work addressing a widespread preoccupation in the Catholic Church at the time: the argument over free will, God’s grace and predestination, and the importance of “doing good” (obrar bien was a favourite phrase in the comedia in general) since death could come at any moment. Isabela, Tisbea (Act III, ll. To destroy a woman’s honour, then, was to destroy the honour and social standing of the man who protected her, leaving him open to public ridicule. Later, when asked by the statue of the dead Don Gonzalo whether he will keep his word (to accept his –don Gonzalo’s– invitation to dine at his tomb), Don Juan haughtily replies “I have honour/ and I keep my word/ because I am a gentleman (caballero)” (Act III, ll. He claims that “. Restoration 1900-1923. 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