[Footnote 92: Castil-Blaze's piece omits this adventure, and begins with Donna Anna and the murder of the Commendatore.] [Footnote 93: Castil-Blaze's sketch inserts the peasant wedding here.] [Footnote 94: This piece alone was in writing, all the rest was improvised.] [Footnote 95: Castil-Blaze, I., p. 243.] [Footnote 96: Dictionnaire des Théätres de Paris, II., p. 539.] [Footnote 97: The French pieces are enumerated in the Dictionnaire des Théätres de Paris, II., p. 540.] [Footnote 98: This absurd title, arising from an error of translation (Convitato Convié), not only held its ground in France, even after its exposure by De Visé (Mercure Galant, 1677, I., p. 32), but it was rendered still more nonsensical in its German form, "Das steinerne Gastmahl," which was the usual title in the last century.] "Placatevi d'Averno Tormentatori etemi! E dite per pietade Quando terminaran questi miei guai?"] [Footnote 99: In the same year, 1659, Tirso's drama was played in Paris by Spanish actors (Castil-Blaze, p. 247).] [Footnote 100: Castil-Blaze, I., p. 246.] [Footnote 101: Goldoni, Mém., I., 29, p. 163.] [Footnote 102: Cailhava, II., p. 193.] [Footnote 103: Dictionnaire des Théätres, II., p. 542.] [Footnote 104: Dav. Erskine Baker, Biographia Dramatica (London, 1782), II., p. 188. Th. Shadwell, Poeta Laureatus under William III., lived 1640-1692.] [Footnote 105: Schack, III., p. 469.] [Footnote 106: Müller, Abschied, p. 63.] [Footnote 107: Meyer, L. Schroder, I., p. 153; Cf. II., 2, pp. 55, 144.] [Footnote 108: Meyer, II., 2, p. 44.] [Footnote 109: Meyer, II., 2, p. 179. Schütze, Hamburg. Theatergesch., p. 375.] [Footnote 110: [Oehler] Geschichte des ges. Theaterwesens zu Wien, p. 328.] [Footnote 111: Sonnenfels, Ges. Schr., III., p. 139. Pohl showed me a printed table of contents, without date or place: "Das steineme Gastmahl, oder die redende Statue sammt Arie welche Hanns-Wurst sin get, nebst denen Versen des Ere-miten und denen Verzweiflungs-Reden des Don Juans bey dessen unglücksee-ligen Lebens-Ende."] [Footnote 112: Three puppet plays from Augsburg, Strasburg, and Ulm have been published by Scheible (Das Kloster, III., p. 699); they are very mediocre. Molière's "Don Juan," as an opera for puppets, was played in Hamburg in 1774 (Schletterer, Deutsch. Singsp., p. 152).] [Footnote 113: Dictionnaire des Théätres, II., p. 540.] [Footnote 114: Mém. sur les Spectacles de la Foire, I., p. 153.]