and the Stendhal-Meredith-Turgenieff stage, and were confronted with
philosophic fiction by such pens as Ibsen's and Tolstoy's, Don Juan had
changed his sex and become Dona Juana, breaking out of the Doll's House
and asserting herself as an individual instead of a mere item in a moral
pageant.

Now it is all very well for you at the beginning of the XX century to
ask me for a Don Juan play; but you will see from the foregoing survey
that Don Juan is a full century out of date for you and for me; and
if there are millions of less literate people who are still in the
eighteenth century, have they not Moliere and Mozart, upon whose art no
human hand can improve? You would laugh at me if at this time of day I
dealt in duels and ghosts and "womanly" women. As to mere libertinism,
you would be the first to remind me that the Festin de Pierre of
Moliere is not a play for amorists, and that one bar of the voluptuous
sentimentality of Gounod or Bizet would appear as a licentious stain on
the score of Don Giovanni. Even the more abstract parts of the Don Juan
play are dilapidated past use: for instance, Don Juan's supernatural
antagonist hurled those who refuse to repent into lakes of burning
brimstone, there to be tormented by devils with horns and tails. Of that
antagonist, and of that conception of repentance, how much is left that
could be used in a play by me dedicated to you? On the other hand, those
forces of middle class public opinion which hardly existed for a
Spanish nobleman in the days of the first Don Juan, are now triumphant
everywhere. Civilized society is one huge bourgeoisie: no nobleman
dares now shock his greengrocer. The women, "marchesane, principesse,
cameriere, cittadine" and all, are become equally dangerous: the sex
is aggressive, powerful: when women are wronged they do not group
themselves pathetically to sing "Protegga il giusto cielo": they grasp
formidable legal and social weapons, and retaliate. Political parties