first written version of the Don Juan story was a play, (The Trickster of Seville and the Stone Guest), published in Spain around 1630 by Tirso de Molina (pen name of Gabriel Téllez). In Tirso de Molina's version Don Juan is portrayed as an evil man who seduces women thanks to his ability to manipulate language and disguise his appearance. This is a demonic attribute, since the devil is known for shape-shifting or taking other peoples' forms. In fact Tirso's play has a clear moralizing intention. Tirso felt that young people were throwing their lives away, because they believed that as long as they made an Act of Contrition before they died, they would automatically receive God's forgiveness for all the wrongs they had done, and enter into heaven. Tirso's play argues in contrast that there is a penalty for sin, and there are even unforgivable sins. The devil himself, who is identified with Don Juan as a shape-shifter and a "man without a name", cannot escape eternal punishment for his unforgivable sins. As in a medieval Danse Macabre, death makes us all equal in that we all must face eternal judgment. Tirso de Molina's theological perspective is quite apparent through the dreadful ending of his play. Another aspect of Tirso's play is the cultural importance of honor in Spain of the golden age. This was particularly focused on women's sexual behavior, in that if a woman did not remain chaste until marriage, her whole family's honor would be devalued. Later versions The original play was written in the Spanish Golden Age according to its beliefs and ideals. But as time passed, the story was translated into other languages, and it was adapted to accommodate cultural changes. Other well-known versions of Don Juan are Molière's play (1665), Antonio de Zamora's play (1722), Goldoni's play (1735), José de Espronceda's poem (1840), and José Zorrilla's romantic play (1844). is still performed throughout the Spanish-speaking world on 2 November ("All Souls Day", the Day of the Dead). Mozart's opera has been called "the opera of all operas". First performed in Prague in 1787, it inspired works by E. T. A. Hoffmann, Alexander Pushkin, Søren Kierkegaard, George Bernard Shaw, and Albert Camus. The critic Charles Rosen analyzes the appeal of Mozart's opera in terms of "the seductive physical power" of a music linked with libertinism, political fervor, and incipient Romanticism. Based on "Don Giovanni"