Popular Culture Review Vol. 1, December 1989 | Page 9
First, a few details of humor in the Tirso play and in some of
its many descendants, in various countries and media. Then, in
conclusion, perhaps I may be able to explain, if not justify, the use
o f that humor. Though the activities o f Tirso’s Don Juan are
couched in sprightly verse and the story preserves a rather frivo
lous, amoral tone, it is his servant Catalin6n, sprung from those
clever, backtalking classic menials of Plautus et al, who carries the
true comic burden.* His name is Andalusian slang for “big turd”
(Castro 205), a footnote, so to speak, which may help establish his
character. He jokes about swallowing salt when shipwrecked
(Castro 187-88; 11.517 ff.), indulges in mild scatology (189,11.56162 and 234,11.474-81), trades wisecracks with the statue, though
terrified (271-75,11. 541-626; 286-89,11. 887-972), and fouls his
britches (272,11.554-57). Remember the significance o f his name.
Nothing much changes as the legend spreads through Europe.
The Italian so-called pseudo-Cicognini Convitato dipietra , proba
bly before 1650, replaces Catalindn with Passarino (“little spar
row,” equally a symbol for fright), who similarly jokes about food
and breaks wind. The Don Juan stage is soon to take up commedia
dell ’arte characters, with servants now named Hans W urst (“Johnny
Sausage”), Arlequin, Punch. Don Juan's lackey becomes Every
m an’s, and a figure so beloved that he even steals the lead role from
his master. Jests, acrobatics, pantomimes, all manner o f farce fuel
these popular plays. In the midst of such fare comes Molifere’s Dom
Juan (1665), a true masterpiece, but with only a slightly more
serious servant in Sganarelle, still a fount of laughter, somewhat
subtler, as one would expect o f the French, but quite well suited to
a tale spun by a comic playwright. Sganarelle’s role is substantial.
His polished verbal wit (1.2, n.4,1 V.5, V.2, for instance) is perhaps
best exemplified in the well-known M. Dimanche scene (IV.3), but
even his serious speeches usually soon deconstruct into slapstick or
farce (III.l, V.2). The pants-fouling gimmick appears (III.5), not
unexpectedly. The servitor is even allowed to end the play, giving
3