"Don Juan Tenorio" turns 175 years harassed by Halloween and feminism

As children, on November 1, we went to the Plaza de los Venerables, in front of the Hostería del Laurel ("In it you are, gentleman") to see the street representation of "Don Juan Tenorio"; incidentally, we listened to the prickly pear and bought wafer cuts in the nuns of the Incarnation ... All things that, I suppose, make my Sevillian childhood the forge of a fascist casposo. The Hostería del Laurel, the initial site of Zorrilla's work, is today a cuqui hotel with a Donjuanesque theme, the nuns follow their intramurals and I imagine that the "Tenorio" continues to be represented in the streets of Seville. But, as in general to our old All Saints Day, the boastful Don Juan ("wherever I go / goes the scandal with me") the spectra of the competition multiply, and it is likely that it will not be found to your liking between both Joker, both Pennywise and so much pumpkin that fills Halloween the weekend of the dead. If that is added to the crooked gesture of the most bitter feminists, who for some time now see the "zero patient" of patriarchal machismo in Tenorio, we find that the mocker of Seville is on the way to being a relic of the past and his moral message (sin-guilt-redemption) an encrypted and untranslatable text by the new generations that chant the "trick or treat" of Halloween as if they were born in Wisconsin. Today, exactly 175 years ago, «Don Juan Tenorio» was born. Well almost. Zorrilla's great work was performed for the first time in Madrid's Teatro de la Cruz on March 28, 1844. It was a half-failure. On the other hand, in its replacement on November 1 of that year at the Prince's Theater, it was successfully converted without palliatives. And so on until today. Don Juan should not be claimed for mere patriotism or chauvinistically fought against Yankee pumpkins. Like Hamlet, like Faust, it is a universal stereotype, before and after Zorrilla. He is Don Juan de Tirso, from Mozart, Moliere, Goldoni, Byron, Stendhal, Marañón ... He is not a character, he is an emblem and a generational mirror. That is why it cannot be reduced to the aggressive passive machirulo of the recent #MeToo rereading. Not even Mrs. Inés plunge her into the pit of psychological abuse or, at best, the inferior role of the saving woman of men astray by mere idiocy. In psychology, Don Juanism is a phenomenon both male and female and, in any case, there are as many feasible and respectable readings as readers and generations (including, of course, feminist). The real pity is that, at this rate, as with the children who observe the biblical works of El Prado, soon there will be no way to understand why that man does what he does, why the punishment sought is sought or why it deserves to be saved, if it deserves it. Simpler is the "trick or treat" than "or tear my heart out, / or love me, because I adore you."