In England also "Don Juan" was put on the stage at about the same time. Whether in his "Libertine Destroyed," which was produced in 1676, Thomas Shadwell followed the Spanish original or the French or Italian version, I cannot pretend to determine. The piece was very successful, but Don Juan's villainy was so dreadful, and the piece altogether so horrible, "as to render it little less than impiety to represent it on the stage."[104] In 1725 Antonio de Zamora, Chamberlain to King Philip V. of Spain, adapted the same subject under the title, "Non hay deuda que no se pague y convi-dado de piedra." "This adaptation, displaying much talent and skill, is cast almost in the same form as the opera; the earlier adventures of Don Juan in Naples are omitted, and Zamora, like the author of the libretto, begins with the murder of the Commandant."[105] In Germany, "Don Juan, oder das Steinerne Gastmahl," belonged to the standing repertory of the improvising actor from the beginning of the eighteenth century. Prehauser, the celebrated buffoon of the Vienna Theatre, made his first dramatic attempt in 1716 as Don Philippo in the "Steinerne Gastmahl."[106] Schroder appeared in Hamburg, in 1766, as Sganarell in "Don Juan," and "surpassed all expectation."[107] This may have been a version of Molière's "Don Juan," but as early as 1746 an afterpiece entitled "Don Juan" was on the repertory of Ackermann's Company,[108] and in 1769 the pantomime ballet of "Don Juan" was given by them.[109] At Vienna, up to 1772, an improvised "Steinerne Gastmahl" was regularly given during the octave of All Souls;[110] a proof that Don Juan's dissolute life was contemplated with pleasure, and that morality was considered as abundantly vindicated by his being carried off by the devil after a long penitential {DON GIOVANNI.} (156) speech.[111] The traditions of this burlesque degenerate into a mere puppet-show. "Hanswurst" becomes the chief personage, and Don Juan's love adventures are made subservient to his deeds of blood; both the names and situations point to the French version of the Italian piece as the principal source, but many additions have been made, and these, for the most part, not happy ones.[112] It was in Paris that the first attempt was made to treat "Don Juan" operatically. In the year 1713, Le Tellier produced "au jeu d'Octave," a comic opera "Le Festin de Pierre," in three acts, and "en vaudevilles sans prose" at the Théätre de la Foire Saint-Germain.[113] It was well received, but exception being taken to the representation of hell at the conclusion of the opera, it was suppressed; but a few days after, we are told, "Le magistrat, mieux informé, révoqua cette sentence."[114] The piece followed the old lines, only a few new jokes were introduced; and the language of the couplets, judging by the specimens which are given, must have been tolerably free.