The piece which has won Tirso immortality is his _Burlador de Sevilla y Convidado de Piedra_ (The Seville Mocker and the Stone Guest), first printed at Barcelona in 1630 as the seventh of _Twelve New Plays by Lope de Vega Carpio, and other Authors_; and the omission of the _Burlador_ from all authorised editions has led critics of authority to question Tirso's authorship.[27] The discovery in 1878 of a new version caused Manuel de la Revilla to declare that the play was by Calderón, on the ground that Calderón's name is on the title-page, and that Calderón never trespassed on other men's property. This is an overstatement: to mention but a few instances, Calderón's _Á Secreto Agravio Secreta Venganza_ is re-arranged from Tirso's _Celoso prudente_; his _Secreto á Voces_ from Tirso's _Amar por Arte mayor_, while the second act of Calderón's _Cabellos de Absalón_ is lifted, almost word for word, from the third act of Tirso's _Venganza de Tamar_. On the whole, then, Tirso may be taken as the creator of Don Juan. No analysis is needed of a play with which Mozart, the most Athenian of musicians, has familiarised mankind; nor is translation possible in the present corrupt state of the text. Whether or not there existed an historic Don Juan at Plasencia or at Seville is doubtful, for folklorists have found the story as far away from Spain as Iceland is; but it is Tirso's glory to have so treated it that the world has accepted it as a purely Spanish conception. The _Festin de Pierre_ (1659) by Dorimond, the _Fils Criminel_ (1660) of De Villiers, the _Dom Juan_ (1665) of Molière, the _Nouveau Festin de Pierre_ (1670) of Rosimond, and the arrangement of Thomas Corneille, are but pale reflections of the Spanish type which passes onward from Shadwell's _Libertine_ (1676) till it reaches the hands of Byron and Zorrilla and Barbey d'Aurévilly and Flaubert (whose posthumous sketch comes closer back to the original). Of these later artists not one has succeeded in matching the patrician dignity, the infernal, iniquitous valour of the original. To have created a universal type, to have imposed a character upon the world, to have outlived all rivalry, to have achieved in words what Mozart alone has expressed in music, is to rank among the great creators of all time.