Spoleto
—  Comune  —
Città di Spoleto
Coat of arms
Spoleto Location of Spoleto in Italy
Coordinates: 42°44′N 12°44′E / 42.733°N 12.733°E / 42.733; 12.733
Country	Italy
Region	Umbria
Province	Perugia (PG)
Frazioni	see list
Government
• Mayor	Daniele Benedetti (Democratic Party)
Area
• Total	349 km2 (135 sq mi)
Elevation	396 m (1,299 ft)
Population (2008)
• Total	39,128
• Density	110/km2 (290/sq mi)
Demonym	Spoletini
Time zone	CET (UTC+1)
• Summer (DST)	CEST (UTC+2)
Postal code	06049
Dialing code	0743
Patron saint	San Ponziano
Saint day	January 14
Website	Official website

Spoleto (Latin Spoletium) is an ancient city in the Italian province of Perugia in east central Umbria on a foothill of the Apennines. It is 20 km (12 mi) S. of Trevi, 29 km (18 mi) N. of Terni, 63 km (39 mi) SE of Perugia; 212 km (132 mi) SE of Florence; and 126 km (78 mi) N of Rome.

History[link]

Spoleto was situated on the eastern branch of the Via Flaminia, which forked into two roads at Narni and rejoined at Forum Flaminii, near Foligno. An ancient road also ran hence to Nursia. The Ponte Sanguinario of the 1st century BCE still exists. The Forum lies under today's marketplace.

Located at the head of a large, broad valley, surrounded by mountains, Spoleto has long occupied a strategic geographical position. It appears to have been an important town to the original Umbri tribes, who built walls around their settlement in the 5th century BC, some of which are visible today.

The first historical mention of Spoletium is the notice of the foundation of a colony there in 241 BC;^[1] and it was still, according to Cicero^[2] colonia latina in primis firma et illustris: a Latin colony in 95 BC. After the Battle of Lake Trasimene (217 BC) Spoletium was attacked by Hannibal, who was repulsed by the inhabitants^[3] During the Second Punic War the city was a useful ally to Rome. It suffered greatly during the civil wars of Gaius Marius and Sulla. The latter, after his victory over Crassus, confiscated the territory of Spoletium (82 BC). From this time forth it was a municipium.

Under the empire it seems to have flourished once again, but is not often mentioned in history. Martial speaks of its wine. Aemilianus, who had been proclaimed emperor by his soldiers in Moesia, was slain by them here on his way from Rome (253), after a reign of three or four months. Rescripts of Constantine (326) and Julian (362) are dated from Spoleto. The foundation of the episcopal see dates from the 4th century: early martyrs of Spoleto are legends, but a letter to the bishop Caecilianus, from Pope Liberius in 354 constitutes its first historical mention. Owing to its elevated position Spoleto was an important stronghold during the Vandal and Gothic wars; its walls were dismantled by Totila.^[4]

Under the Lombards, Spoleto became the capital of an independent duchy, the Duchy of Spoleto (from 570), and its dukes ruled a considerable part of central Italy. In 774 it became part of Holy Roman Empire. Together with other fiefs, it was bequeathed to Pope Gregory VII by the powerful countess Matilda of Tuscany, but for some time struggled to maintain its independence. In 1155 it was destroyed by Frederick Barbarossa. In 1213 it was definitively occupied by Pope Gregory IX. During the absence of the papal court in Avignon, it was prey to the struggles between Guelphs and Ghibellines, until in 1354 Cardinal Albornoz brought it once more under the authority of the Papal States.

View of Spoleto.

After Napoleon's conquest of Italy, in 1809 Spoleto became capital of the short-lived French department of Trasimène, returning to the Papal States after Napoleon's defeat, within five years. In 1860, after a gallant defence, Spoleto was taken by the troops fighting for the unification of Italy. Giovanni Pontano, founder of the Accademia Pontaniana of Naples, was born here. Another child of Spoleto was Francis Possenti who was educated in the Jesuit school and whose father was the Papal assesor, Francis later entered the Passionists and became Saint Gabriel of Our Lady of Sorrows.

Main sights[link]

Roman theatre in Spoleto.

The Albornozian Castle in Spoleto.

Cathedral of Santa Maria dell'Assunta in Spoleto.

San Pietro church, façade.

Ancient and lay buildings[link]

• The Roman theater, largely rebuilt. The stage is occupied by the former church of St. Agatha, currently housing the National Archaeological Museum.
• Ponte Sanguinario ("bloody bridge"), a Roman bridge 1st century BC. The name is traditionally attributed to the persecutions of Christians in the nearby amphiteatre.
• Roman amphitheater (2nd century AD). It was turned into a fortress by Totila in 545 and in Middle Ages times was used for stores and shops, while in the cavea the church of San Gregorio Minore was built. The stones were later used to build the Rocca.
• The Palazzo Comunale (13th century).
• Ponte delle Torri, a striking 13th-century aqueduct, possibly on Roman foundations: whether it was first built by the Romans is a point on which scholarly opinion is divided.
• The majestic Rocca Albornoziana, built in 1359–1370 by the architect Matteo Gattapone of Gubbio for Cardinal Albornoz. It has six sturdy towers which formed two distinct inner spaces: the Cortile delle Armi, for the troops, and the Cortile d'onore for the use of the city's governor. The latter courtyard is surrounded by a two-floor porch. The rooms include the Camera Pinta ("Painted Room") with noteworthy 15th‑century frescoes. After having resisted many sieges, the Rocca was turned into a jail in 1800 and used as such until the late 20th century. It is currently under repair.
• The Palazzo Racani-Arroni (16th century) has a worn graffito decoration attributed to Giulio Romano. The inner courtyard has a notable fountain.
• Palazzo della Signoria (14th century), housing the city's museum.
• The majestic Palazzo Vigili (15th-16th centuries) includes the Torre dell'Olio (13th century), the sole mediaeval city tower remaining in Spoleto.

Churches[link]

• The Duomo (Cathedral) of S. Maria Assunta, begun around 1175 and completed in 1227. The Romanesque edifice contains the tomb of Filippo Lippi, who died in Spoleto in 1469, designed by his son Filippino Lippi. The church also houses a manuscript letter by Saint Francis of Assisi.
• San Pietro extra Moenia was founded in 419 to house Peter's relics over an ancient necropolis. It was rebuilt starting from the 12th century (though the work dragged on until the 15th century), when a remarkable Romanesque façade was added: this has three doors with rose-windows, with a splendid relief decoration by local artists, portraying stories of the life of St. Peter. Together with S. Rufino in Assisi, it is the finest extant specimen of Umbrian Romanesque. The church is preceded by a large staircase. In the 17th century the interior, having a basilica plan with a nave and two aisles, was remade in Baroque style; also in Roman Baroque style is the elliptical dome.
• The basilica of San Salvatore (4th-5th century) incorporates the cella of a Roman temple and is one of the most important examples of Early Christian architecture. It was remade by the Lombards in the 8th century. In 2011, it became a UNESCO World Heritage Site as part of a group of seven inscribed as Longobards in Italy. Places of the power (568-774 A.D.).
• San Ponziano is a notable complex lying outside the city's walls, dedicated to the patron saint of Spoleto. The church was built in the 12th century in Romanesque style, but was later modified by Giuseppe Valadier. The crypt, however, has remained untouched, with its five small naves and small apses with cross-vault, ancient Roman spolia columns and frescoes of the 14th-15th centuries.
• Santa Maria della Manna d'Oro, is an edifice on an octagonal plan sited near the Cathedral. It was built in the 16th-17th century to thank the Madonna for her protection of Spoletine traders.
• San Domenico (13th century) is a Gothic construction in white and pink stone. The interior has notable frescoes and a painting by Giovanni Lanfranco. The crpyt is a former church dedicated to St. Peter, with frescoed walls.
• San Gregorio Maggiore (11th-12th century), is a Romanesque church which has been restored to original lines only in recent times. The façade has two slopes and a porch of the 16th century that includes the Chapel of the Innocents (14th century) with a noteworthy font. The main external feature is the high belfry, finished only in the 15th century. The interior has three naves with spolia columns and pillars.
• The former church of Santi Giovanni e Paolo is a Romanesque edifice featuring, on the exterior, a 13th century fresco portraying Madonna with Saints. The interior frescoes, from the 13th-15th centuries, include some of the most ancient representations of the martyrdom of St. Thomas Becket, by Alberto Sotio, and of St. Francis.
• Santa Eufemia (12th century), a striking example of Romanesque architecture with influences from Lombardy and Veneto. The interior has three naves with spolia columns.
• San Paolo inter vineas (10th century) is a typical Spoletine Romanesque church. Its main feature is the rose-window of the façade.
• The former church and Augustinian convent of San Nicolò (1304) is a rare example of Gothic style in Spoleto. The small church has a single nave with a splendid polygonal apse with mullioned windows. Under the apse is the church of Santa Maria della Misericordia. There are two cloisters, the more recent one pertaining to the 15th century.
• San Filippo Neri is a Baroque construction of mid-17th century, designed by the Spoletine Loreto Scelli and inspired by churches in Rome of the same period.
• Sant'Ansano was created in the 18th century over a series of former buildings including a Roman temple (1st century AD) and the Mediaeval St. Isaac's crypt. It has a cloister from the 16th century.

Culture[link]

The Festival dei Due Mondi (Festival of the Two Worlds) was founded in 1958. Because Spoleto was a small town, where real estate and other goods and services were at the time relatively inexpensive, and also because there are two indoor theatres, a Roman theatre and many other spaces, it was chosen by Gian-Carlo Menotti as the venue for an arts festival. It is also fairly close to Rome, with good rail connections. It is an important cultural event, held annually in late June-early July.

The festival has developed into one of the most important cultural manifestations in Italy, with a three-week schedule of music, theater and dance performances. For some time it became a reference point for modern sculpture exhibits, and works of art left to the city by Alexander Calder and others are a testimony to this.

In the United States, a parallel festival — Spoleto Festival USA — held in Charleston, South Carolina was founded in 1977 with Menotti's involvement. The twinning only lasted some 15 years and, after growing disputes between the Menotti family and the Spoleto Festival USA board, in the early '90s a separation was consummated. However, following Menotti's death in February 2007, the city administrations of Spoleto and Charleston started talks to re-unite the two festivals which would climax in Spoleto mayor Massimo Brunini's attending the opening ceremony of Spoleto Festival USA in May 2008. The mayor of Charleston, Joseph P. Riley, returned the visit and attended the opening ceremony of the festival in Italy, on 27 June 2008.

For a short period of time, a third parallel festival was also held in Melbourne, Australia.

In 1992, the Spoleto Arts Symposium was initiated with the purpose of bringing talented people from all around the world to study in Spoleto. The program apparently ceased in 2009, to be replaced by a similar program, started by the College-Conservatory of Music (CCM) of the University of Cincinnati in 2010.

Sport[link]

Spoleto gained its main results in sport with the local Volleyball team, Olio Venturi Spoleto, who classified in the quarter-finals of the Italian championship in sport.

Sister cities[link]

• Charleston, USA
• Schwetzingen, Germany
• Cajamarca, Peru
• Orange, France

[edit] Frazioni

Acquaiola, Acquacastagna, Ancaiano, Azzano, Baiano, Bazzano Inferiore, Bazzano Superiore, Beroide, Camporoppolo, Campo Salese, Cerqueto, Cese, Collerisana, Collicelli, Cortaccione, Crocemaroggia, Eggi, Fogliano, Forca di Cerro, Madonna di Baiano, Maiano, Messenano, Milano, Montebiblico, Monteluco, Monte Martano, Morgnano, Morro, Ocenelli, Palazzaccio, Perchia, Petrognano, Pompagnano, Pontebari, Poreta, Protte, Rubbiano, San Brizio, San Giacomo, San Giovanni di Baiano, San Martino in Trignano, San Nicolò, San Silvestro, Santa Croce, Sant'Anastasio, Sant'Angelo in Mercole, San Venanzo, Silvignano, Somma, Strettura, Terraia, Terzo la Pieve, Terzo San Severo, Testaccio, Uncinano, Valdarena, Valle San Martino, Vallocchia.

References[link]

External links[link]

Wikimedia Commons has media related to: Spoleto

• Official Site
• Charleston & Spoleto's Sister City Web Site
• Official web site of the public and private turistic operators of Spoleto
• Pro Loco Spoleto
• Spoleto OnLine
• Spoleto Festival
• Spoleto Storia
• Festival of the Two Worlds
• UmbriaOnline: Spoleto

Don Juan in Mozart's opera Don Giovanni, a painting by Max Slevogt

This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (March 2011)

Don Juan (Spanish, or "Don Giovanni" in Italian) is a legendary, fictional libertine whose story has been told many times by many authors. El burlador de Sevilla y convidado de piedra (The Trickster of Seville and the Stone Guest) by Tirso de Molina is a play set in the fourteenth century that was published in Spain around 1630. Evidence suggests it is the first written version of the Don Juan legend. Among the best known works about this character today are Molière's play Dom Juan ou le Festin de pierre (1665), Byron's epic poem Don Juan (1821), José de Espronceda's poem El estudiante de Salamanca (1840) and José Zorrilla's play Don Juan Tenorio (1844). Along with Zorrilla's work (still performed every year on November 2nd throughout the Spanish-speaking world), arguably the best known version is Don Giovanni, an opera composed by Wolfgang Amadeus Mozart with libretto by Lorenzo da Ponte, first performed in Prague in 1787 (with Giacomo Casanova probably in the audience) and itself the source of inspiration for works by E. T. A. Hoffmann, Alexander Pushkin, Søren Kierkegaard, George Bernard Shaw and Albert Camus.

Don Juan is used synonymously for "womanizer", especially in Spanish slang, and the term Don Juanism is sometimes used as a synonym for satyriasis.

Don Juan legend[link]

Although the various iterations of the Don Juan myth show some variation, the basic storyline remains the same. Starting with Tirso's work, Don Juan is portrayed as a wealthy, seductive libertine who devotes his life to seducing women, taking great pride in his ability to seduce women of all ages and stations in life. His life is also punctuated with violence and gambling, and in many interpretations (Tirso, Espronceda, Zorrilla), he kills Don Gonzalo, the father of a girl he has seduced, Doña Ines. This leads to the famous last supper scene, whereby Don Juan invites the dead father to dinner. The ending depends on which version of the legend one is reading. Tirso's original play was meant as religious parable against Don Juan's sinful ways, and ends with his death, having been denied salvation by God. Other authors and playwrights would interpret the ending in their own fashion. Espronceda's Don Felix walks into hell and to his death of his own volition, whereas Zorrilla's Don Juan asks for, and receives, a divine pardon. The figure of Don Juan has inspired many modern interpretations.

Pronunciation[link]

In Castilian Spanish, Don Juan is pronounced [doŋˈxwan]. The usual English pronunciation is /ˌdɒnˈwɑːn/, with two syllables and a silent "J". However, in Byron's epic poem it rhymes with ruin and true one, indicating that it was intended to have the trisyllabic spelling pronunciation /ˌdɒnˈdʒuːən/. This would have been characteristic of his English literary predecessors who often deliberately imposed partisan English pronunciations on Spanish names, such as Don Quixote /ˌdɒnˈkwɪksət/.

Chronology of works derived from the story of Don Juan[link]

This section may contain excessive, poor or irrelevant examples. You can improve the article by adding more descriptive text and removing less pertinent examples. See Wikipedia's guide to writing better articles for further suggestions. (May 2010)

Seventeenth century[link]

• 1630: Tirso de Molina's play El burlador de Sevilla y convidado de piedra
• 1643: Paolo Zehentner's play Promontorium Malae Spei
• 1650: Giacinto Andrea Cicognini's play Il convitato di pietra
• 1658: Dorimon (Nicolas Drouin's) Le festin de pierre, ou le fils criminel
• 1659: Jean Deschamps, Sieur de Villiers's play Le Festin de Pierre ou le Fils criminel
• 1665: Molière's comedy Dom Juan ou le Festin de pierre
• 1669: Rosimon's Festin de pierre, ou l’athée foudroyé
• 1676: Thomas Shadwell's play The Libertine
• 17th century: L'ateista fulminato, Italian play by unknown author

Eighteenth century[link]

• 1714?: Antonio de Zamora's play No hay plazo que no se cumpla ni deuda que no se pague o convidado de piedra^[1]
• 1730: Antonio Denzio's opera La pravità castigata, with music mainly by Antonio Caldara
• 1736: Carlo Goldoni's play Don Giovanni Tenorio ossia Il dissoluto
• 1761: Christoph Willibald Gluck's and Gasparo Angiolini's ballet Don Juan
• 1776: Vincenzo Righini's opera Il convitato di pietra
• 1787: Giovanni Bertati's opera Don Giovanni, music by Giuseppe Gazzaniga
• 1787: Lorenzo da Ponte's opera Don Giovanni, music by Mozart

Nineteenth century[link]

• 1813: E.T.A. Hoffmann's novella Don Juan (later collected in Fantasiestücke in Callots Manier)
• 1821: Byron's epic poem Don Juan
• 1829: Christian Dietrich Grabbe's play Don Juan und Faust
• 1830: Pushkin's play Каменный гость (Kamenny Gost', The Stone Guest) set as an opera in 1872
• 1831: Alexandre Dumas' play Don Juan de Maraña
• 1831: Balzac's short story L'Élixir de longue vie (The Elixir of Life)
• 1834: Prosper Mérimée's novella Les âmes du Purgatoire
• 1840: José de Espronceda's El estudiante de Salamanca
• 1841: Franz Liszt's Réminiscences de Don Juan on themes from the Mozart opera
• 1843: Søren Kierkegaard's Either/or in which he discusses Mozart's musical interpretation of Don Giovanni, and includes another text which develops a similar character called Johannes ("Diary of a seducer").
• 1844: Nikolaus Lenau's play Don Juan
• 1844: José Zorrilla's play Don Juan Tenorio
• 1857: Charles Baudelaire's poem Don Juan aux enfers (Don Juan in Hell) in Les Fleurs du Mal
• 1862: Aleksey Konstantinovich Tolstoy's verse drama Don Juan
• 1872: Alexander Dargomyzhsky's opera The Stone Guest after Puskin
• 1874: Guerra Junqueiro's poem A morte de D. João
• 1878: The Finding of Don Juan by Haidee, painting by Ford Madox Brown
• 1883: Paul Heyse's "Don Juans Ende"
• 1888: Richard Strauss' symphonic poem Don Juan
• 1889: Vernon Lee's short story 'The Virgin of the Seven Daggers', in which Don Juan raises a Moorish princess from the grave in order to seduce her

Twentieth century[link]

• 1903: George Bernard Shaw's play Man and Superman; the third act's dream sequence is often played by itself as Don Juan in Hell
• 1902–1905: Ramón del Valle-Inclán's Las sonatas
• 1906 : Ruperto Chapí's opera Margarita la tornera, based on José Zorrilla's dramatic poem. This features a seducer of women known as Don Juan Alarcon.
• 1907: Guillaume Apollinaire's novel Les exploits d'un jeune Don Juan
• 1910: Gaston Leroux's novel Phantom of the Opera, which includes an opera called Don Juan Triumphant.
• 1910–1912: Aleksandr Blok's The Commander's Footsteps (Шаги командора).
• 1912: Lesya Ukrainka's Stone Host (Кам'яний господар), a dramatic poem.
• 1913: Jacinto Grau's play Don Juan de Carillana; also, the play El burlador que no se burla (1927) and the essay Don Juan en el tiempo y en el espacio (1954)
• 1921: Edmond Rostand's play La dernière nuit de Don Juan
• 1922: Azorín's Don Juan
• 1926: Ramón Pérez de Ayala's novel and play Tigre Juan
• 1926: Don Juan, starring John Barrymore, silent film with Vitaphone soundtrack.
•  ?: Serafín and Joaquín Álvarez Quintero's play Don Juan
• 1928: Don Juan in der Mädchenschule, directed by Reinhold Schünzel, starring Ernst Behmer, Adolphe Engers and Carl Geppert
• 1932: short story Don Juan's Confession in Karel Čapek's Apocryphal Tales (Kniha apokryfů)^[2]
• 1934: Miguel de Unamuno's Don Juan
• 1934: The Private Life of Don Juan, Douglas Fairbanks, Sr.'s last film
• 1934–1949: André Obey: Don Juan
• 1936: Ödön von Horváth's Don Juan kommt aus dem Krieg (Don Juan comes back from the war)
• 1938: Sylvia Townsend Warner's novel "After the Death of Don Juan"
• 1940: Le Mythe de Sisyphe: Albert Camus. Published by Librarire Gallimard (1942) and by Alfred A. Knopf (1955, 1983) and First Vintage International Editions (1991) in English as The Myth of Sisyphus and other essays. In Camus' anti-suicide treatise, Don Juan is one of three 'Absurd Men', 'heroes' who overcome life with their attitude.
• 1942: Paul Goodman's novel Don Juan or, The Continuum of the Libido, edited by Taylor Stoehr, 1979.
• 1942: Franz Zeise's novel Don Juan Tenorio
• 1944: Josef Toman Don Juan
• 1946: Suzanne Lilar, play "Le Burlador", an original reinterpretation of the myth of Don Juan from the female perspective that revealed a profound capacity for psychological analysis.
• 1949: Adventures of Don Juan, film starring Errol Flynn
• 1950: Don Juan, film directed by José Luis Sáenz de Heredia
• 1952: "A Story of Don Juan", a short ghost story by V.S. Pritchett
• 1953: Max Frisch's Don Juan oder die Liebe zur Geometrie; also Nachträgliches zu Don Juan
• 1954: Ronald Frederick Duncan's play Don Juan
• 1955: Ingmar Bergman's play Don Juan
• 1955: Desi Arnaz as Ricky Ricardo as Don Juan in several episodes (Season 4, Episode #6, #9, #10, #17, #21) of I Love Lucy, the television series.
• 1956: Buddy Holly's song Modern Don Juan
• 1957: Georges Bataille's novel "Blue of Noon", an adaptation of the Don Juan story set in 1930s fascist Europe
• 1958: Henry de Montherlant's play Don Juan
• 1959: Roger Vailland's play Monsieur Jean
• 1960: Ingmar Bergman film Djävulens öga(The Devil's Eye)
• 1963: Gonzalo Torrente Ballester's novel Don Juan
• 1967: In the Star Trek Episode from the first season Shore_Leave_(Star_Trek) Yeoman Tonia Barrows is accosted by Don Juan.
• 1969: Jan Švankmajer's Don Šajn (Don Juan); a short retelling of the Don Juan legend featuring live-action, stop-motion animation, and marionettes.
• 1969/1970: Donna Juanita, a song performed by Swedish artist Monica Zetterlund, part of the revue and TV-show "Spader, Madame!" by comedians Hasseåtage, based on a musical piece by Franz Schubert (Sixth Symphony, Second Movement) - the theme of the lyrics is to show the gender inequality in the fact that Don Juan's philandering behaviour would never have been accepted in a woman
• 1970: The Stoned Guest, a half-act opera by P. D. Q. Bach
• 1973: Don Juan ou Si Don Juan était une femme..., a film starring Brigitte Bardot
• 1974: Derek Walcott's play, The Joker of Seville
• 1975: Lars Gyllensten's novel I skuggan av Don Juan (In the shadow of Don Juan)
• 1980: New York City no-wave artists Mars and DNA recorded a collaborative opera based on Don Giovanni entitled John Gavanti
• 1983: Carlos Morton's play, Johnny Tenorio
• 1987: In the Andrew Lloyd Webber musical The Phantom Of the Opera, the Phantom both writes and stars in a fictional opera named Don Juan Triumphant.
• 1987: Post-minimalist composer Elodie Lauten wrote an opera based on a feminist variation of the legend entitled "The Death of Don Juan"
• 1988: The Pet Shop Boys song "Don Juan", which used the story as a metaphor for the seduction of the Balkans by Nazism during the 1930s
• 1991: Georges Pichard's Exploits d'un Don Juan, comic from Apollinaire's novel
• 1995: Don Juan DeMarco, film starring Johnny Depp in the role of Don Juan, and also starring Marlon Brando
• 1997: David Ives' comedy Don Juan in Chicago

Twenty-first century[link]

• 2003: Félix Gray's musical comedy Don Juan
• 2004: Peter Handke's novel Don Juan (erzählt von ihm selbst) ("Don Juan (Told by Himself)")
• 2005: José Saramago's play Don Giovanni ou O Dissoluto Absolvido (Don Giovanni or The Dissolute Acquitted).
• 2005: Jim Jarmusch's film Broken Flowers.
• 2006: Don Juan in Soho, a play by Patrick Marber
• 2009: Kasper Bech Holten's film Juan

Both the Flynn and Fairbanks versions turn Don Juan into a likeable rogue, rather than the heartless seducer that he is usually presented as being. The Flynn movie even has him successfully foiling a treasonous plot in the Spanish royal court. Shaw's play turns him into a philosophical character who enjoys contemplating the purpose of life.

References[link]

1. ^ http://es.wikipedia.org/wiki/Antonio_de_Zamora
2. ^ Apocryphal Tales, Karel Čapek.

Further reading[link]

• Macchia, Giovanni (1995) [1991] (in Italian). Vita avventure e morte di Don Giovanni. Milano: Adelphi. ISBN 88-459-0826-7. 
• Said Armesto, Víctor (1968) [1946] (in Spanish). La leyenda de Don Juan. Madrid: Espasa-Calpe. 
• Guillaume Apollinaire: Don Juan (1914).
• Michel de Ghelderode: Don Juan (1928).

External links[link]

Wikimedia Commons has media related to: Don Juan

• Don Juan Archiv Wien (in German)
• Text of Molière's Dom Juan' (in French)
• Encyclopædia Britannica article about Don Juan
• Armand E. Singer: A Bibliography of the Don Juan Theme 1954-2003
• "Juan!...Juaaan!!!" Sample of an alternative Don Juan story
• "Flowers of Evil", Charles Baudelaire