源自文藝復興晚期小說的《唐喬望尼》當中，唐喬望尼原本是文藝復興晚期無賴小說中的主角，在達彭替的劇本中，人類追求感官享受的天性透過唐喬望尼被表現出來，意欲跳脫宗教與社會背景的框架，與追求自然的啟蒙精神相契合，因爲唐喬望尼所代表的是一種精神，而不僅是一個男人，他所追求的感官享受，以及對自由的渴望，藉由不斷地誘惑與逃離被誘惑者的循環中充分表達；雷波列羅則依附在主人高貴的身份之下，當主人的行爲不符合社會規範及良知時，爲了保有工作及享受爲貴族服務所帶來的福利，便改變自己的價值觀以規避社會的規則，並且參與主人誘惑女性的過程，即便對被誘惑的女性也有著些許憐憫，卻無關道德與良心。對達彭替而言，其塑造角色的功力顯現於使唐喬望尼身爲全劇的關鍵之餘，也成爲反抗權威的叛逆者，嘲笑保守社會下的父權與神學信仰的個人主義者，而非褻瀆與胡鬧的混合物。

In the fiction "Don Giovanni" in the late period of the Renaissance, Don Giovanni was a noble who liked to flirt with women. However, in Da Ponte's play, human beings' nature to pursue the sense enjoyment is expressed through Don Giovanni. It desires to get out of the frame of traditional religions and social backgrounds, and to make it compatible with the enlightenment spirit, which pursues nature. Because what Don Giovanni represents is a spirit, not merely a man, the sense enjoyment he pursues and the desires for freedom are fully expressed through the consistent temptation and escape from the man who gets tempted; Leporello attaches himself to his master's noble status. When master's behavior doesn't fit in with social rules, Leporello changes his viewpoint to avoid society's condemnations. Thus, he won't lose his job and can enjoy the welfares for serving the nobles. Also, in joining his master's seducement of women, he shows some mercy on the seduced women, but nothing to do with morality and conscience. For Da Ponte, his ability to build roles makes Don Giovanni, as the point of the whole play, become the betrayer who ridicules the patriarchy and theology and fights against the authority in the conservative society, not a mixture of blasphemy and mischievousness.