[Footnote 78: On the adaptations of this subject cf. Cailhave, De l'Art de la Comédie (Paris, 1785), III., ix t.; II., p. 175; Kahlert, Die Sage vom Don Juan (Freihafen, 1841), IV., 1, p. 113. Much serviceable information, together with some nonsense, may be found in Castil-Blaze, Molière Musicien, I., p. 189. A collection of Don Juan literature in the Russian language, by C. Swanzow, has been sent to me by the author.] [Footnote 79: The name and arms of the family of Tenorio (once distinguished in Seville, but long since died out) are given by Castil-Blaze (p. 276), from Gonzalo Argole de Molina's Nobleza de Andaluzia (Seville, 1588), p. 222. According to Favyn (Théätre d'Honneur et de Chevalerie, Paris, 1620) Don Juan Tenorio was the companion of King Pedro (1350-1369) in his cruelties and lusts.] [Footnote 80: The legend is told by Castil-Blaze (p. 221), after Puibusque, Hist. Comparée des Littér. Espagn. et Franç. (Paris, 1843). Schack asserts that it is still current in Seville, and sold in the streets on loose sheets, in the form of a romanze.] [Footnote 81: Castil-Blaze, p. 222. Arnold (Mozart's Geist, p. 298) says that the true source is a political romance by a Portuguese Jesuit, entitled "Vita et mors sceleratissimi principis Domini Joannis."] [Footnote 82: Schack, Gesch. der dram. Litt. u. Kunst in Spanien, II., p. 552. L. Schmidt, Die vier bedeut Dramatiker der Spanier, p. 10. Tellez died in 1648, seventy-eight years old; in 1621 he had already written three hundred comedies.] [Footnote 83: An epitome of the piece, published in Eugenio da Ochoa's Tesoro del Teatro Espaniol (Paris, 1838, IV., p. 73), was given by Cailhava, II., p. 179. Kahlert and Castil-Blaze. It is now accessible in the translations of C. A. Dohrn (Spanische Dramen, I., p. 1) and L. Braunfels (Dramen aus u. n. d. Span., I., p. 1).] [Footnote 84: The part of Tisbea is very charmingly treated; Byron has made use of this part of the subject.] [Footnote 85: When Don Juan swears to marry Aminta, he says, with ambiguous mockery:--] "Wird mein Wort je im geringsten Falsch befunden--nun so mag mich Eine Leichenhrnd vernichten."] [Footnote 86: Schack (II., p. 569), quoting from a license to publish Tirso's works, says that they contain nothing which could offend good manners, and that they present admirable examples to youth.] [Footnote 87: Schack (II., p. 679).] [Footnote 88: Riccoboni, Hist. du. Théätre Ital., I., p. 47.] [Footnote 89: Castil-Blaze (p. 263) has a list of the editions.] [Footnote 90: Goldoni, Mém., I., p. 163. Eximeno, L'Orig. d. Musica, p. 430.] [Footnote 91: Cailhava, in an analysis of the Convitato (II., p. 186), remarks that he has observed trifling alterations in different performances, but that in essentials the piece is always the same. A more detailed analysis of a later piece, differing somewhat in detail, is given by Castil-Blaze (I., p. 192).]