With Don Juan (1665) Moliere signs οne of the most important and enigmatic plays of the world repertoire, a comedy full of irony, but also of tragic depth.
His salacious aristocrat hero is constantly in suspense, as an incurable hunter of Beauty and Lust, but also he is constantly in retreat, as he is chased by everyone who has been insulted by him: the woman whom he abducted by the monastery, whom he later married and then dumped, her brothers who seek for revenge for her honour, his father who reprehends him for his dissolute living, and his lenders who ‘ll never get back what he owes to them.
In the end, this atheist and blasphemous rationalist, accepting the invitation for dinner made by the statue of a commander whom he killed in a duel, he decides to face the afterlife and the God himself, who sends a thunder on him and knocks him down in the depths of Hell.
The denouncement of a hypocritical, prejudiced society, Don Juan touches the issue of the absolute freedom, through the presentment of a man who wishes to get rid of the social, family and religious bonds: how can you exist without being repressed? Is this kind of freedom possible? And if so, what is the price someone has to pay for it, either the man who experiences it or the others that endure it?