The mythical elements Cunqueiro uses are of diverse origins: classical culture, the Don Juan tradition, the popular religious traditions of the Camino de Santiago, all combined with elements belonging to Galician and Portuguese culture.
In 2000, the Santiago de Compostela playwright Roberto Vidal Bolano was asked by the Galician Drama Center--an organization created by the autonomous government of Galicia to promote the staging of plays--to write a Don Juan play.
Vidal Bolano's play presents a fascinating intertextual dialogue with Cunqueiro's short story, and, indirectly, with the centuries-old tradition of the Don Juan myth.
Thus, the updating of the Don Juan myth and the justification of his "Don Juanness" are the basis for the version and are also responsible for its complex and playful structure.
The Cervantine technique of the novel within the novel allows a verisimilar presence of the invited guest of stone, a character of the drama who, together with the narrator and Sonja, the student, we will be "witnesses to" at the end of the novel in which Leporello and Don Juan take part as actors: Don Juan dies on stage, as the cultural tradition imposes, but then he bursts into real life, becoming part of our cultural reality as a myth: "I have died as Don Juan, and I will be him eternally.
The author wants to tell Don Juan's story in the first person (let us bear in mind that one of the bases of this version is to explain the essential nature of Don Juan), for only Don Juan knows his own past, only he knows the reasons of his behavior.
The story "Adios, Antinea" is a version of the Don Juan myth: Solita, a young woman and a dreamer temporarily bedridden with a slight tuberculosis has been told by friends and relatives who visit her of the arrival at the village of a handsome young man whom everybody talks about and without having even met him she falls in love: "Far before I saw him in person, I had received successive and several snippets of information about him.
In conclusion, Galician authors who have dealt with Don Juan are not manifold.
Don Juan arrives in Cadiz--"'Tis there the mart of the colonial trade is / (Or was, before Peru learn'd to rebel)" (2.
12) By contrast, the emphasis in Don Juan is on Lambro as a miser of the Aegean, who loves "power, and rapid gain of gold" (3.
209), and in Don Juan he cynically claims that a lucrative industry of travel writing has been generated "Because one poet travell'd 'mongst the Turks" (5.
Byron makes a similar commentary in Don Juan on the merits of "General [Daniel] Boon [sic]," the "back-woodsman of Kentucky" (8.
The wanderings of Don Juan over the disenchanted geographical space of Asia and Europe are an allegory of the economic growth of the world-system, the temporality of accumulation.
Neither Don Juan, nor Don Juan the poem, can imagine coherent political action; neither the casting of Byron as a prophet of freedom, nor as an artist concerned only with the freedom offered by poetry, seems to serve, as both positions are undercut by the cycle of production and consumption in which Byron felt himself caught.
Where Byron himself is concerned, although several statements in his letters indeed indicate his desire to publish Don Juan whether it were profitable or not (and whatever the legal consequences), there is still stronger evidence that he wanted to make a profit with his work, and identified with the misers precisely because they were commercially successful.