In Act 1, Scene 2, Puttana makes a biblical allusion to the golden calf statue forged by the Israelites in the Book of Exodus:
Ay, ay, he needs no description. The rich magnifico that is below with your father, charge, Signor Donado his uncle, for that he means to make this his cousin a golden calf, thinks that you will be a right Israelite and fall down to him presently; but I hope I have tutored you better. They say a fool’s bauble is a lady’s playfellow. Yet you, having wealth enough, you need not cast upon the dearth of flesh at any rate. Hang him! Innocent!
This allusion to a golden calf refers to a story in the Book of Exodus in which Moses is called to Mount Sinai and, for this reason, leaves the Israelites for 40 days and nights. In his absence, the Israelites fear he won't return, so they forge an idol to worship, melting gold down to create a golden calf. This, in turn, greatly angers God. Moses, for his part, narrowly convinces God not to destroy the Israelites as punishment.
By making this allusion, Puttana introduces several themes that become central to the drama’s narrative—most particularly, the perversion of faith through the worshiping of false idols, which is directly manifested by characters placing people and relationships on unrealistic pedestals. Just as—in Puttana’s estimation—Donado seeks to transform Bergetto into a “calf” for Annabella, Giovanni transforms Annabella into a calf of his own as well, placing her above all else in his life. As the characters in the play seek to venerate things they should not (namely, other humans, lust, illicit affairs, etc.), they soon realize that their momentary sinful enjoyment cannot and will not last against the greater forces at work in the universe—that is, against nature or God.
During the climax of 'Tis Pity She’s a Whore in Act 5, Scene 5, Giovanni makes an allusion to a famous biblical passage as he murders his sister Annabella:
To save thy fame, and kill thee in a kiss.
Stabs her [as they kiss].
Thus die, and die by me, and by my hand.
Revenge is mine; honour doth love command.
When Giovanni says, "Revenge is mine," he glancingly alludes to Romans 12:19, which affirms God’s dominion over the act of revenge and bars followers of the Christian faith from committing such acts themselves ("Dearly beloved, avenge not yourselves, but rather give place unto wrath: for it is written, Vengeance is mine; I will repay, saith the Lord"). Giovanni’s murder of Annabella is borne out of a desire to grant his sister mercy and protection from a ruined reputation. Thus, by preemptively killing her before her husband Soranzo can do so himself, Giovanni takes on the role of a godlike figure, acting in place of the divine to mete out his own form of justice.
Giovanni echoes this same allusion in the next scene (Act 5, Scene 6) when he continues his destructive rampage by murdering Soranzo:
Yes, I tell thee, yes;
For in my fists I bear the twists of life.
Soranzo, see this heart which was thy wife’s:
Thus I exchange it royally for thine,
[He stabs Soranzo.] And thus and thus! [Stabs him again.] Now brave revenge is mine.
After losing the single person he cared about through his own destructive actions, Giovanni’s bloodlust can no longer be restrained. By claiming this vengeance for himself rather than leaving revenge to the hands of God, Giovanni’s descent into sin is finally, utterly crystallized.
During the climax of 'Tis Pity She’s a Whore in Act 5, Scene 5, Giovanni makes an allusion to a famous biblical passage as he murders his sister Annabella:
To save thy fame, and kill thee in a kiss.
Stabs her [as they kiss].
Thus die, and die by me, and by my hand.
Revenge is mine; honour doth love command.
When Giovanni says, "Revenge is mine," he glancingly alludes to Romans 12:19, which affirms God’s dominion over the act of revenge and bars followers of the Christian faith from committing such acts themselves ("Dearly beloved, avenge not yourselves, but rather give place unto wrath: for it is written, Vengeance is mine; I will repay, saith the Lord"). Giovanni’s murder of Annabella is borne out of a desire to grant his sister mercy and protection from a ruined reputation. Thus, by preemptively killing her before her husband Soranzo can do so himself, Giovanni takes on the role of a godlike figure, acting in place of the divine to mete out his own form of justice.
Giovanni echoes this same allusion in the next scene (Act 5, Scene 6) when he continues his destructive rampage by murdering Soranzo:
Yes, I tell thee, yes;
For in my fists I bear the twists of life.
Soranzo, see this heart which was thy wife’s:
Thus I exchange it royally for thine,
[He stabs Soranzo.] And thus and thus! [Stabs him again.] Now brave revenge is mine.
After losing the single person he cared about through his own destructive actions, Giovanni’s bloodlust can no longer be restrained. By claiming this vengeance for himself rather than leaving revenge to the hands of God, Giovanni’s descent into sin is finally, utterly crystallized.
