「唐璜」故事自十七世紀初於西班牙流傳以來，被賦予許多不同的意義，本論文藉著分析比較莫札特歌劇《唐喬凡尼》與霍夫曼小說〈唐璜〉，討論其詮釋史上最關鍵的兩個面向，一是將之視為個人本能欲望與社會道德秩序之間的永恆衝突，而前者終究必須為後者所壓制，以維持人類世界之運作；另一則突顯主角的心理學深度，在追求愛情的絕對精神境界中絕望，轉而憤世嫉俗，以採花行為作為報復手段。二者分別代表人文主義對生命無奈的省思，以及個人主義脫離現實的內在化傾向。在《唐喬凡尼》中存有一種對作品概念的不確定性，譬如其劇種分類及中心主題。不同的理解將會與此相符地導致不同的詮釋方向，並且決定劇院的演出實務。霍夫曼的〈唐璜〉建立起這個歧異的轉折點，從他以後，莫札特這部古典主義傑作即被賦予浪漫主義色彩。本論文透過比較莫札㈵∕達龐提的原始意圖，以及霍夫曼對此歌劇的文學性詮釋，來闡述此時代性的差異。

The story of “Don Juan” has been interpreted in various ways since it first appeared in early 17th century Spain. The present paper addresses the two most fundamental issues in the history of its interpretation, through the comparison and analysis of Mozart’s Don Giovanni and E. T. A. Hoffmann’s “Don Juan.” One is to look at the eternal conflict between the instinctual desires of a person and the morals and norms of society, in which, to keep the human world going, the former is eventually suppressed by the later. The other emphasizes the psychological depth of Don Juan, who loses hope in finding the essence of true love and becomes resentful and cynical, choosing to use amorous affairs as his means of retribution. The two issues present humanism’s introspection about life to which there is no alternative, and individualism’s inward tendency to escape reality, respectively.