The play Dom Juan or the Feast of Stone written by Molière and published in 1665, is the third French adaptation of the myth of Don Juan, following Dorimon's version of 1659 and that of Villiers in 1660. Besides, the Italian Comedians, and in particular the troupe of Biancolelli, play the scripts of the Commedia dell'Arte in Paris on the same subject.

If one must admit that this source inspired Molière, it is more or less certain, on the contrary, that the Spanish play of Tirso de Molina El Burlador de Sevilla, written in 1616 and the origin of the myth, was unknown to him, despite his admiration for the Spanish comedies. His play, in prose, does not entirely follow the theatrical rules of its time and one finds neither unity of time, place nor action. In the context of the theatre of the 17th century, it is one of the least classic works by Molière. Both daring and disturbing, this version of Don Juan runs only for a short time. Revised by its author to be less defiant after the second performance, it is nevertheless withdrawn after the fifteenth and doesn't reappear on the French stage for almost two centuries. It is replaced by a milder version in 1677, written by Thomas Corneille, at the request of Molière's widow. The beginning of Act I is located in a palace, open to strollers, where Sganarelle, the valet of Dom Juan, is in conversation with Gusman, valet of Elvire. Through their conversation, one learns that Dom Juan has kidnapped Elvire from a convent to marry her, but that this conquest is no longer of any interest to him. Facing Gusman's indignation, Sganarelle paints his master's portrait, a “ mean man ”, who suddenly appears. When the two are alone, Sganarelle informs Dom Juan of the presence of Elvire in the vicinity while making some observations on his conduct in love. Dom Juan answers by a discourse on love whose principle pleasure resides in variety. The arrival of Elvire interrupts the lesson that Sganarelle, was in return, attempting to give his master. The seducer, who doesn't hesitate to lie to her, rudely dismisses Elvire, who is hurt and furious at the attitude of Dom Juan. In Act II, a peasant, Charlotte, and her fiancé Pierrot discuss a shipwreck that has just occurred and converse on their conception of love. As Pierrot departs, Dom Juan and Sganarelle, the survivors of this shipwreck, arrive and Charlotte becomes the object of all Dom Juan's attention. Joined by Mathurine, another peasant, Dom Juan, by a clever double seduction, promise marriage to the two girls. Interrupted by a troop of riders who are seeking them, Dom Juan and Sganarelle take flight. In the beginning of Act III, Dom Juan forces his valet to give him his clothes to attempt escaping his pursuers. Sganarelle in turn, disguised as a physician provides the pretext for a discourse on the current state of science. On their way, they have two encounters which reveal two aspects of Dom Juan's personality. The encounter with a hermit shows the atheistic and sceptical Dom Juan who unsuccessfully forces the poor man to blaspheme. The one with Dom Carlos, one of Elvire's brothers, leads to the discovery of the noble gentleman Dom Juan, ready to fight to save a life. Continuing on their way, Dom Juan and Sganarelle come across the mausoleum of the Commander killed a few months earlier by Dom Juan. He invites the Commander's statue, which decorates the tomb, to come to dine and it accepts with a nod of the head. In Act IV, Dom Juan is at home and receives the visit of his creditor, Mr. Dimanche a rich bourgeois, whom he dismisses with many false civilities. Then enter Dom Louis, his father, who has come to reproach him for his licentious conduct. Faced with his son's insolence, he retires, threatening. At supper, Elvire arrives also, wearing a veil. She has decided to return to the convent and has come to implore Dom Juan to change his ways. The last visit of the evening is that of the Commander's statue which comes to honour the invitation that has been made to him. In turn it invites Dom Juan to dine the following day. At the beginning of Act V, Dom Juan becomes a clever actor who tries to deceive his father by announcing his recent conversion and his repentance. After the departure of a thankful father who is moved by these revelations, he reveals his play-acting to his amazed valet, by praising hypocrisy as a useful social mask that allows him to continue his life of debauchery. In addition, he puts his theory to the test when he meets Dom Carlos who has come seeking revenge by the sword, by retorting that the Heavens henceforth forbids him violence. Then emerges a veiled spectre, messenger of a final warning. This spectre turns into a face representing Time with its scythe. When Dom Juan attempts to confront it, the spectre vanishes. Then events accelerate. The statue appears and asks Dom Juan to give him his hand. At this contact, Dom Juan collapses thunderstruck, and is send to hell. Sganarelle remains alone on stage, demanding his wages.