Some Sources of Romanticism: 6 – The Lasting Effects
Isaiah Berlin
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The Great Melodrama of Don Giovanni
In the nineteenth century, this pleasently harmless seccet h was regarded by the public as blasphemous. It was first reintroduced into he european repertory towards the end of the nineteenth or beginning of the twentieth century and is now regularly plained. The reason is this, here is this vast and dominating, sinister symbolic figure, don giovanni, who standsw, we know not for what, but certainly for something inexpressible. He stands perhaps for art as against life. He stands maybe for some principle of inexhaustible evil against some kind of philistine good. He stands for power. He standsfor magic. And the tragedy the opera ends with
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