This extravaganza was extraordinarily successful. In 1673 a second version, with additions and new scenery ("Aggiunta al Convitato di Pietra"), was announced.[95] The new Italian company of the Duke of Orleans replaced the improvised "Convitato di Pietra" upon the stage in 1717, and it was revived in 1743.[96] This gave rise to a dispute with the French actors, who were not willing to renounce their claim to so taking a piece.[97] Dorimon first produced a translation of Giliberti's piece with the title of "Le Festin de Pierre,[98] ou le Fils Criminel," at Lyons in 1658, when {DON GIOVANNI.} (152) Louis XIV. met the Princess of Savoy there, and it was performed again at the Théätre de la Rue des Quatre Vents, in Paris, during 1661. But De Villiers had been beforehand with him here, having produced his _tragi-comédie_ with the same title and almost verbal identity in 1659 at the theatre of the Hötel de Bourgogne.[99] Don Juan's afflicted father, exposed to the insolence of his son and the mockery of the servant, appears quite at the beginning of the piece. Afterwards Don Juan changes clothes with his servant Philippin in order to elude justice, robs a monk of his cowl, and in this disguise slays Don Philippo (Ottavio), the lover of Amarillis (Donna Anna). After the Commandant has supped with him and invited him, Don Juan again seduces a newly married woman, and then repairs to the chapel, where he is struck by lightning as he sits at table. Molière did not neglect so promising a subject for the use of his company, and his "Don Juan, ou le Festin de Pierre" was first performed at the Palais-Royal on February 15, 1665. In contrast with the buffoonery of the Italians he has tried to raise the subject into the sphere of genuine comedy, and has thereby obliterated the last trace of the national-historical character of the drama in its Spanish form. Both sensual passion and chivalric boldness have disappeared. Molière's "Don Juan" is a cold-blooded egotist in his love and his want of faith, an enlightened rationalist, even when preserving his honour as a cavalier with personal bravery; his servant Sganarelle reasons as morally as his master immorally, but is quite as great an egotist, and a coward into the bargain. The striking situations, in which the original was so rich, are either merely related, as in the case of the seduction of Donna Anna and the murder of the Commenda-tore, or they have lost all their lively colouring by a new turn, as in the case of the adventures with the fisher-girl and the peasant; everything that might shock or injure the {MOLIÈRE'S "FESTIN DE PIERRE."} (153)