Could someone write an analysis (not summary) of part 2 of Don Juan Tenorio? Thanks.

In part 2, we again see the discrepancy between how female purity is defined in terms of the patriarchy and the philosophy of courtly love. Although both perspectives approach female purity as a worthy asset, the latter hails such purity as ennobling and redemptive in nature.
In a patriarchal society, female purity is viewed as an asset in that it substantiates the masculine reputation. Position in the social hierarchy is thus defined by honor. A bride's virginal status brings honor to her family and to her groom. To be cuckolded, therefore, is deeply wounding to the masculine soul and is socially humiliating. Therefore, a daughter's purity holds great implications for a man's position in society. Both the groom and the father of the bride are highly invested in it. There is a paradox at play, of course.
Although men like Don Juan and Don Luis seek to best each other in sexual conquests, both seek (above all else) sexual purity in a wife. The competitive nature is present even after marriage. The chastity of a wife ensures the impeccability of a man's lineage; by extension, a cuckolded husband must always wonder about his children's paternal heritage. He is thus seen as less of a man in other men's eyes.
Meanwhile, courtly love (derived from the system of chivalry) regards feminine purity as ennobling in nature. From such a perspective, women are not fallen creatures; instead, they are entities of virtue. Even in death, Dona Ines retains her purity, like the "fresh tint of the rose." Indeed, Don Juan sees her as "one of the guardian angels."
In part two of the play, Don Juan returns, only to see three massive statues of his victims erected on what should have been the grounds of his inherited home. He curses the hour when "heaven treated him so fiercely," even after he spoke with the "voice of a penitent." Don Juan laments his rejection. Here, Zorrilla suggests that God has also rejected Don Juan. The masculine soul seeks salvation, but it proves elusive to him. However, Dona Ines (in her transcendent self) answers. She represents the Madonna who answers when God is silent.
While living, Dona Ines exemplified all the feminine virtues men worshiped. Yet, she also displayed elements of the feminine imperative: the inherent desire to mate with the strongest and most dominant male. Don Juan answered everything that Dona Ines desired in a man. He could best any competitor in a duel, and other men feared his "satanic" predilections for violence. There was only one problem: Don Juan failed to fulfill all of the expectations of a fond father.
In part two, Don Juan recognizes his flaws. He approaches the statue of Dona Ines as he does a shrine, seeking absolution for his sins. In his mind, Dona Ines is the angel of his salvation. Yet, despite his yearnings, he is incredulous when Dona Ines's spirit appears before him. For her part, Dona Ines assures him that she has interceded for him before God and that her fate is now tied to his. For a short time, Don Juan is given the opportunity to repent and to redeem himself.
For his part, Don Juan believes that he is hallucinating. He imagines that the frightful apparitions he sees are figments of his imagination. He even invites the statue of Don Gonzalo to dinner in order to convince himself that he has been dreaming. After all, Don Juan has always valued courage above all else, and he is not going to be humbled by some spirits of the night. The last scenes of magical realism in act 3, however, tell a different story. Here, Don Juan's past actions condemn him, and Hell calls out for his soul. He must account for the deaths he has caused.
However, with Dona Ines awaiting, the blustering Don Juan eventually admits his deep need. The concept of salvation is subverted here: instead of being saved by a Christ figure, Don Juan enters heaven upon the ministrations of a Madonna. Zorrilla reinforces this point through his extensive use of magical realism.