The drama, necessarily, in this rapid sketch, stripped of all the elegance and brilliancy of its poetical rendering, bears to an extraordinary degree the stamp of the time and nation to which it belongs. The freedom and unreserve with which the various love intrigues are treated and described are certainly peculiar to the age, and the story is distinguished by a dash of chivalric bravery all its own; the audience, while recognising a faithful representation of their own state of morals, were little inclined to take umbrage at the summary punishment of the sinner before them.[86] This point is, indeed, emphasised by various observations made in a truly catholic spirit; for instance, when Don Juan says to his stony guest, after having mockingly invited him to sup: "What will'st thou, vision, ghost? Dost thou suffer still the pains of purgatory? Dost thou demand satisfaction? What is thy will? I pledge my word to do as thou com-mandest. Why hast thou left God's throne? Do thy sins cause thee still to wander?" The effect is greatly heightened again by the reply of the statue when Don Juan is about to light him out: "Let be; God lights my path." And when Don Juan sees that all is over, he begs for a confessor, and the statue answers, "Too late, too late is thy contrition!" and Don Juan falls dead. The intricate plot is very unequally treated, and so indeed are also the characters. Among the female characters, Tisbea as a type of passion, and Aminta as a type of naïve simplicity, are both attractive and original; and among the men Don Juan, boldly and freely sketched, and his servant Catalinon, the inevitable "Gracioso" of the Spanish drama, are most remarkable. Catalinon in particular is treated with moderation and delicacy; neither his cowardice, his moralising, nor his wit is brought too prominently forward, and he always appears as the shadow of his master. Even in the spectre scenes he fails to rise to any grandeur of character. The influence of Spain upon the Italian drama[87] necessarily {DON GIOVANNI.} (150) brought Tirso's "Don Juan" to Italy. According to Ricco-boni, it first appeared upon an Italian stage soon after 1620.[88] The first printed translation known is that by Onofrio Giliberti, entitled "ü Convitato di Pietra," performed in 1652 at Naples; others followed with the same title by Giacinto Andrea Cicognini (1670) and Andrea Perucci (1678);[89] the subject was familiar on the Italian stage, and unfailingly popular.[90]