Lord Byron’s Don Juan is a satirical verse form that offers a apparently amusing and serious mentality of gender. In three different sexual dealingss in three different topographic points. the events that surround Don Juan are both absurd and questionable. From an early matter with Donna Julia. to an innocently. beautiful battle with Haidee and eventually an unrealized and avoided relation with the Sultana Gulbeyaz. Don Juan escapes through the clasps of love with tattered artlessness. a broken bosom and near fatal erotism. “As Byron’s satiric mastermind developed. it tended to use less and less of the traditional axe-swinging of the neoclassic ironists and to near more and more the mocking and dry mode of the Italian burlesque poets…Finally. when his satiric mastermind had to the full ripened. Byron found complete look in serious and societal satire” ( Trueblood. 19 ) . From an early age. Don Juan was destined to roll through a labyrinth of gender. One can see this flowering by simply looking at his parent’s matrimony. Let us first expression at Don Juan’s parents. Don Jose and Donna Inez. Byron presents the twosome ironically and comically. Donna Inez. “morality’s dainty personification …perfect past all parallel” ( Byron. I. 16-17 ) . still is non good plenty for Don Jose.

A adult male with a greater concern for adult females than cognition. Don Jose is non a peculiarly admirable male parent figure. He lacks regard for his married woman. and “like a direct boy of Eve. /Went tweaking assorted fruits without her leave” ( Byron. I. 18 ) . This allusion to Don Jose being a boy of Eve is slightly accurate and satirical. Like Eve. he is careless and unaware of the effects of his actions. However. as Eve’s boy. the progeny of God’s beautiful creative activity. Don Jose is given holy qualities. He can non be blamed for his actions. and for a long clip. Donna Inez blinds herself from his errors and maintains their matrimonial position. Their relationship is practically unpointed ; a female parent and male parent that wished each other dead. non divorced. The fusion of Don Jose and Donna Inez is a amusing brotherhood. “What work forces call heroism. and Gods adultery. / Is much more common where the climate’s sultry” ( Byron. I. 63 ) . The two reach a point where they can non stand each other. yet for some ground. they stay together. At the same clip. matrimonial differences and unfaithfulness make for no riant affair.

They were. and go on to be. jobs for twosomes all around the universe. Byron depicts Don Jose and Donna Inez at each other’s pharynxs. but still kiping side by side. To farther solidify dry temper. when their divorce necessarily approaches. Don Jose falls sick and dies. His decease right before acquiring divorced symbolizes the decease of matrimony. Byron might be jabing merriment at the fact that more and more matrimonies end in divorce. and that the fire shared by ‘soul mates’ typically burns out. Despite being an unfaithful and detached male parent. the storyteller paradoxically calls Don Jose an honorable adult male. The decease of the male parent creates increased responsibilities for the female parent. Donna Inez decides to edify Don Juan with the instructions of art and scientific disciplines. but in making so. disregards learning him the basic facts of life. Person uniformed about basic life necessities is at hazard of non cognizing how to move and respond to certain state of affairss. Though Don Juan does non try to pull strings those around him. his deficiency of way leads him to being a victim of a harsh. unforgiving universe.

“Ladies even of the most uneasy virtuousness / Prefer a partner whose age is short of thirty” ( Byron. I. 61 ) . This is a bold statement from the storyteller. but it is surely the instance for Donna Julia. Donna Inez’s friend. She falls for the immature and fine-looking Don Juan when he turns 16. though her fondness started before so. Donna Julia is seven old ages older than Don Juan. Her love for the immature chap is both amusing and paedophilic. Donna Julia unsuccessfully resists enticement. and finally takes Juan’s artlessness and sends him along a way of sexual confusion. As the storyteller provinces: “Even artlessness itself has many a wile / And will non make bold to swear itself with truth. / And love is taught lip service from youth” ( Byron. I. 72 ) . Her inability to defy Don Juan is satirical for he is sexually inexperient. Bing sexually unsatisfied. one would believe Donna Julia would prosecute a lover with sexual experience. Her hankering for such a immature adult male is eccentric and questionable. “Byron seems to the think enticement built-in to creative activity. and fall the inevitable effect of temptation” ( Ridenour. 29 ) .

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For Don Juan. an at hand relationship with Donna Julia is most appealing. but in bend. it is the start of gyrating. sexual journey. “Oh pleasance. you’re so a pleasant thing. / Although one must be damned for you no doubt” ( Byron. I. 119 ) . Unfortunate effects of plentiful pleasance tend to follow Don Juan around. His love affair with Donna Julia is of short lived passion. One November dark. Don Alfonso’s intuitions reach a new tallness and he confronts Donna Julia in her suite. The season is important ; November represents the decision of autumn and an coming winter. The trees lose their foliages. workss and shrubs dwindle and the yearss get shorter and colder. These events can be compared to Don Juan and Donna Julia’s relationship. as its fire is extinguished by an disquieted Don Alfonso. “Man is chained to cold Earth and is able to relieve his agonies merely by his ain attempts – by love and glorification and. as we learn in the 2nd stanza. by poesy. This really verse form is presented as an effort to give colour. signifier. heat to a universe of course colourless. indefinite and chill” ( Ridenour. 33 ) .

This idea can besides be applied to Donna Julia. who was lighten uping her universe with the immature Don Juan. Though she promised Don Alfonso to ne’er dishonor the ring she wore. she falls victim to the fact that “pleasure’s a wickedness and sometimes sin’s a pleasure” ( Byron. I. 133 ) . Donna Julia acts like a double-edged blade when confronted by Don Alfonso. She gets disturbances by his unfaithful accusals. while the whole clip. Don Juan is hidden beneath a heap of apparels. “Satire was Byron’s natural and accustomed response to animadversion and injury” ( Trueblood. 20 ) . In the terminal. Donna Julia is left emotionally hurt and displaced. while Don Juan hardly escapes from a physical penalty. Don Alfonso is left betrayed. deceived and non cognizing where to turn. The first canto ends with the same disheartened feeling: “All things that have been born were born to decease. / And flesh ( which Death mows down to hay ) is grass” ( Byron. I. 220 ) . The allusion of Death cut downing the grass of life is amusing and serious. Humans age from twelvemonth to twelvemonth and their wellness finally deteriorates. The same can be said of Don Juan’s sexual dealingss.

“In Don Juan. Byron uses about every possible fluctuation of heroic poem tone. from the frivolous to the about wholly serious” ( Clancy. 63 ) . The tone takes a bend for the worse when Juan is involved in a shipwreck. He manages to acquire aboard a longboat and get away the capsizing ship. Juan’s luck merely lasts so long for his coach. who boards the longboat merely to be eaten several yearss subsequently. Merely when Juan appears on the threshold of decease. he floats to safety seizing an oar. The oar can be seen as an obvious phallic symbol. and in bend. it leads Juan to his first true love. Haidee. “Amidst the waste sand and stones so ill-mannered / She and her wave-worn love had made their bower” ( Byron. II. 198 ) . The scene of their relationship is perfect. for it is both beautiful and unsafe. “As Byron is careful to indicate out. it is here. on a seashore whose hazards have been repeatedly emphasized. that the particularly harmonious and ideal love of Juan and Haidee is consummated” ( Ridenour. 44 ) .

The love of Juan and Haidee has a quality of impressiveness which Don Juan and Donna Julia lacked. The two are portrayed as psyche mates that happened upon each other. They were brought together in a shot of fortune and when their brotherhood is denied “the power of love sours to crave. sex hatred and leering primness. What is true love is every bit true of the other passions…The effort to incorporate the passions and halt the flow of life ever defeats itself in some mode. This is the peculiar signifier which the criterion satiric secret plan takes in Don Juan” ( Kernan. 93 ) . Though Haidee and Juan were meant for each other. Lambro interferes and puts an terminal to their relationship. He ruins the pureness of love. which had ironically been washed up on a beach. Lambro puts Juan into bondage. and moreover. causes his daughter’s coma and eventual decease. Had he accepted the fusion of Juan and Haidee. life in general would hold been happier. gayer.

Violence and upset lurk behind repose and harmoniousness. and the tranquil and harmonious are fated necessarily to fade out once more in the violent and helter-skelter. This is an changeless jurisprudence of Byron’s universe. Haidee was. “Nature’s bride” ( Byron. II. 202 ) . and the love she shared with Juan is contrasted in its naturalness with the unnatural state of affairs of adult female in society. Their brotherhood is about an act of natural faith. ( Ridenour ) . Mary Grant topographic points Don Juan “among the different sorts of wit. the mild and permeant type of Socratic sarcasm. subtle in its half-laughter and half-earnestness. harmonized best with the easiness of affableness of the sermo. its alteration of tone from grave to gay. its humanistic disciplines in the absence of art” ( Ridenour. 10 ) .

Don Juan is brought to a slave market in Constantinople and bought by a eunuch for the Sultana. Gulbeyaz. The eunuch. Baba. can be seen as a sinister and unsafe character. “The technique of tie ining the topic to be ridiculed with sexual powerlessness is. of class. a traditional one ; but the connexion between powerlessness and lecherousness for power exists on a much deeper degree than that of mere invective” ( Ridenour. 12 ) . Baba’s sexual life has been obliterated. and his status foreshadows a drastic alteration to Don Juan. This is fulfilled when he is brought to the castle and instantly dressed in woman’s vesture. Juan’s gender rearrangement is dry. and turns eccentric when Gulbeyaz demands him to do love to her. As he is still in mourning for losing Haidee. Juan refuses and bursts into cryings. “In the histories of his [ Juan’s ] dealingss with adult females. he is non made to look heroic or even dignified ; and these impress us as holding an ingredient of the genuine every bit good as of the make-believe” ( Eliot. 97 ) .

His actions at first exasperate the Sultana. so she feels compassion. and finally she cries. Juan is displaced from a adult male to a crying adult female. while Gulbeyaz turns from a demanding adult female to an apathetic female. Communication between the two is short lived as the grand Turk approaches the palace. Upon seeing Juan. the sultan provinces: “I see you’ve bought another miss ; ‘tis commiseration / That a mere Christian should be half so pretty” ( Byron. V. 155 ) . The grand Turk. who has four married womans and doubtless several kept womans. comes off as a sap for non detecting that Juan is a male. We can express joy at his sightlessness. but at the same clip. one can merely inquire what else he does non see. In Canto I we have the diverting history of the family tree of Don Juan. Then there is a description of the first of Juan’s affairs. the Julia episode. Canto II continues Juan’s escapades. including his shipwreck and subsequent love matter with Haidee. In Cantos III and IV the passionate love affair of Haidee and Juan comes to its tragic terminal and Juan is shortly embroiled in the farcical harem escapade which occupies the whole of Canto V and is concluded in Canto VI ( Trueblood. 5 ) .

Through these episodes. Byron uses sarcasm to portray gender in a amusing and serious mode. “The verse form is a sarcasm on the romantic cult of passion and on the natural adult male whose passions are his lone usher from his proper woes” ( Clancy. 53 ) . Don Juan is sent on a rollercoaster of gender: paedophilic love. true love stoping in a broken bosom and so a confusing. unsure relation. Through adversities and enterprises. Don Juan comes out a stronger adult male. From the first six cantos. one can reason that “love. which should be a agency of get the better ofing ego. of life in and for another individual. is itself narcissistic. The redress simply aggravates the upset. It is the same paradox which. in other footings. we have met so frequently before” ( Ridenour. 75 ) . The comedic yet serious portraiture of gender makes Don Juan one of the greatest sarcasms even written.


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