Find a passage in our readings from Canto II in which nature is personified. Once you have selected a passage of 2 or 3 cantos, discuss he following questions:
1. How does the narrator present nature’s actions? Does he seem to judge or evaluate them? If so, then how? Is his evaluation consistent, or does he suggest different ways in which nature’s actions might be construed?
2. How do the characters in the story react to nature’s actions? Are their reactions sensible or appropriate? Why or why not?
3. How do nature’s actions in your passage square with the portrayal of nature throughout Canto II? On the whole, what is nature like in Canto II? What are its predominant characteristics? What kinds of adjectives would you use to describe it?
Friday, April 24, 2009
Byron 2
In Lord Byron’s second canto, the character of Don Juan is more deeply explored. What makes this poem stand out compared to those read thus far is the humorous tone upheld by Byron. Rather than being completely abstract and difficult to comprehend, Byron gives us a story that is straightforward and rather entertaining.
When telling the story to readers, Byron strays away from the 8 syllable words, and the whole “lets discover the secret of life” that was visible in Wordsworth’s poetry. Not only does Byron use simple language, he also introduces the story to the reader as a playwright would to an audience. “first, there was his lady—mother, mathematical, A – nevermind; his tutor, an old ass; a pretty woman (that’s quite natural, or else the thing had hardly come to pass); A husband rather old, not much in unity with his young wife—a time, and opportunity.” What I like about this also is that he talks to the reader as a friend who is dishing gossip to a neighbor. Hand him a martini and he would fit right in on the Sex and the City set.
Byron gives another sense of being one with the reader, when he talks about the necessities of being human, including paying taxes, making love, etc. Also, we see him stray from the story and talk about other things, and then tell the audience that he must find his way back to the actual story. Byron tells his story with much familiarity and a greater sense of entertainment than other poems we have read.
Thursday, April 23, 2009
DJ canto II
Lord Byron’s Don Juan is a well crafted poem that establishes an original style of epic poetry. He does not try to write with elite form or class, using fancy words or high-culture topics. Rather, Byron’s writing is down to earth and conversational, as if an old friend is telling you the story. His Canto the Second provides good examples of this. He writes in an informal style, with running commentary on his own poetic process, random asides and jokes, and language and content fit for close friends rather than strangers.
Throughout the poem he maintains a sort of running commentary in which he speaks directly to the reader either about his own poetic process or part of what he has just written. In the 6th stanza, he is describing Cadiz and the women, but stops, saying “Alas! To dwell upon such things would very near absorb a canto – then their feet and ankles, - well, thank Heaven I’ve got no metaphor quite ready….” Not only does he tell the reader directly that he could go on to write a whole canto about them, he also says that he hasn’t got a metaphor ready. This glimpse into his writing process brings us there with him, as if we are by his side as he relates this story. Again, in the 17th stanza he brings us in on the writing process, saying “I like so much to quote; you must excuse this extract, - ‘t is where she, the Queen of Denmark, for Ophelia brought flowers to the grave….” He explains the quote he has just used, again making us feel close with the poet, almost part of an ongoing conversation.
Byron also uses jokes and comments to the reader, often in the form of parenthesis that create in informal atmosphere with which he relates the story. He does not go for the high and mighty all-knowing philosophical poet persona that we may see in Wordsworth or others; rather, he creates a friendly, playful dynamic between reader and writer that puts us both on the same level. In stanza 13, he says “The best of remedies is a beef steak against sea-sickness; try it, Sir, before you sneer….” This random comment to the reader is hardly relevant to the plot, but helps build a friendly relationship with the reader, whom he directly addresses and gives advice to. In stanza 16 he talks about the importance of travel for young men, then adds, “the next time their servants tie on behind their carriages their new portmanteau, perhaps it may be lines with this my canto.” This joke is also not relevant, but provides a little humor to the reader and shows that Byron can laugh at himself, implying that his poem would be fit to line the inside of luggage. These and other parenthesized comments throughout the canto build a relationship with the reader.
Finally, the subject matter of Don Juan and the candidness with which he describes it would hardly be appropriate coming from a stranger, creating the impression that is coming from someone the reader knows personally. In the 5th stanza, he talks about the girls in Cadiz, and describes how “their very walk would make your bosom swell,” as if he were a buddy describing the girls at a party. On the ship, he describes the sea-sickness with more detail than most would care to hear. In stanza 20, he writes about Don Juan, “Here he grew inarticulate with retching.” Further, he talks about cannibalism and how the sailors killed and ate another in order to survive the hunger. From stanza 77: “Part was divided, part thrown to sea, and such things as the entrails and the brains regaled two sharks… The sailors ate the rest of poor Pedrillo.” This vivid account of regurgitation and cannibalism seems like locker room talk, only suitable for private conversation between pals. It is vulgar and certainly not considered proper in 19th century Britain.
Byron does a good job of creating a unique style of epic poetry. By using direct commentary on his own writing, conversational language directed straight at the reader, and personal and even disgusting subject matter, he creates a very personal and friendly atmosphere in which he relates his story.
Throughout the poem he maintains a sort of running commentary in which he speaks directly to the reader either about his own poetic process or part of what he has just written. In the 6th stanza, he is describing Cadiz and the women, but stops, saying “Alas! To dwell upon such things would very near absorb a canto – then their feet and ankles, - well, thank Heaven I’ve got no metaphor quite ready….” Not only does he tell the reader directly that he could go on to write a whole canto about them, he also says that he hasn’t got a metaphor ready. This glimpse into his writing process brings us there with him, as if we are by his side as he relates this story. Again, in the 17th stanza he brings us in on the writing process, saying “I like so much to quote; you must excuse this extract, - ‘t is where she, the Queen of Denmark, for Ophelia brought flowers to the grave….” He explains the quote he has just used, again making us feel close with the poet, almost part of an ongoing conversation.
Byron also uses jokes and comments to the reader, often in the form of parenthesis that create in informal atmosphere with which he relates the story. He does not go for the high and mighty all-knowing philosophical poet persona that we may see in Wordsworth or others; rather, he creates a friendly, playful dynamic between reader and writer that puts us both on the same level. In stanza 13, he says “The best of remedies is a beef steak against sea-sickness; try it, Sir, before you sneer….” This random comment to the reader is hardly relevant to the plot, but helps build a friendly relationship with the reader, whom he directly addresses and gives advice to. In stanza 16 he talks about the importance of travel for young men, then adds, “the next time their servants tie on behind their carriages their new portmanteau, perhaps it may be lines with this my canto.” This joke is also not relevant, but provides a little humor to the reader and shows that Byron can laugh at himself, implying that his poem would be fit to line the inside of luggage. These and other parenthesized comments throughout the canto build a relationship with the reader.
Finally, the subject matter of Don Juan and the candidness with which he describes it would hardly be appropriate coming from a stranger, creating the impression that is coming from someone the reader knows personally. In the 5th stanza, he talks about the girls in Cadiz, and describes how “their very walk would make your bosom swell,” as if he were a buddy describing the girls at a party. On the ship, he describes the sea-sickness with more detail than most would care to hear. In stanza 20, he writes about Don Juan, “Here he grew inarticulate with retching.” Further, he talks about cannibalism and how the sailors killed and ate another in order to survive the hunger. From stanza 77: “Part was divided, part thrown to sea, and such things as the entrails and the brains regaled two sharks… The sailors ate the rest of poor Pedrillo.” This vivid account of regurgitation and cannibalism seems like locker room talk, only suitable for private conversation between pals. It is vulgar and certainly not considered proper in 19th century Britain.
Byron does a good job of creating a unique style of epic poetry. By using direct commentary on his own writing, conversational language directed straight at the reader, and personal and even disgusting subject matter, he creates a very personal and friendly atmosphere in which he relates his story.
I'm on a Boat!
(Sorry, I had to.) Ahem--Don Juan, Canto II
In the first half of Canto II, Byron further develops Don Juan’s status as a mock epic and even begins to display a more cynical tone against society. There is somewhat less outright comic relief than in the first canto, and the actions of the sailors throughout the first 99 stanzas provide a stark contrast to what would normally be expected from the crew of a ship in an epic poem with heroic characters. These less-than-heroic actions are presented in a steady decline that transitions from the relatively light and comic to the gruesome.
The first clue that the crew of the Trinidad is not entirely composed of stouthearted souls who would laugh in the eye of a storm is their lack of heroism when the ship is crippled by gale-force winds. Not even any heroic deeds that might have occurred after the first gale are given much mention. Byron gives most of the credit for saving the ship to the manufacturer of the pumps, and after the second gale eliminates the rudder and the masts and sails, most of the sailors quickly try to break into the ship’s store of grog, leaving Don Juan to defend the door and keep the whole crew from rendering themselves completely useless.
Also, the ship-abandoning tactics of the sailors are not exactly epic. After failed attempts at building a raft, thirty-nine men including Don Juan and his dog and tutor save themselves by taking the longboat and cutter. Again, no mention is made of any selfless sacrifices made in deciding who would be saved and who would go down with the ship; there is no heroic embellishment. The escape of the lucky few is shown plainly as self-preservation by those who were able to secure a place for themselves in one of the smaller boats. This very unfortunate situation, in which nearly two hundred lives are lost, marks a turn toward the dark for the poem.
This darkening mood and tone get much darker when, stranded on the longboat, the sailors begin to succumb to their hunger and thirst. In a desperate and somewhat sickening grasp for survival, the crew tears up Don Juan’s love letter to use for lots to decide who will be killed and eaten first. Adding to the already gruesome scene when Pedrillo, Don Juan’s luckless tutor, is killed, the surgeon drinks his blood as his heart is still beating. Then Pedrillo is divided up among most of the men, who, after eating him, proceed to go completely insane, “tearing, and ginning, howling, screeching, swearing,” and finally dying, as if the whole episode had not been savage enough.
Byron’s depiction of these events is likely not unrealistic; it could be seen as a story of distress at sea without all the sugar-coating of classic epic poems or heroic tales of ships and their crews. He seems to criticize society’s naïve admiration and idolization of sailors, as well as their likely consideration of an event such as a storm at sea as an adventure. Because of this, it would seem, Byron is particularly attacking the British, as they have always had such pride in seafaring and admiration for their naval heroes. He presents a scenario that would likely be of especial interest to the British and completely un-romanticizes it, rubbing the ugly side of their heroic ideals in their faces.
In the first half of Canto II, Byron further develops Don Juan’s status as a mock epic and even begins to display a more cynical tone against society. There is somewhat less outright comic relief than in the first canto, and the actions of the sailors throughout the first 99 stanzas provide a stark contrast to what would normally be expected from the crew of a ship in an epic poem with heroic characters. These less-than-heroic actions are presented in a steady decline that transitions from the relatively light and comic to the gruesome.
The first clue that the crew of the Trinidad is not entirely composed of stouthearted souls who would laugh in the eye of a storm is their lack of heroism when the ship is crippled by gale-force winds. Not even any heroic deeds that might have occurred after the first gale are given much mention. Byron gives most of the credit for saving the ship to the manufacturer of the pumps, and after the second gale eliminates the rudder and the masts and sails, most of the sailors quickly try to break into the ship’s store of grog, leaving Don Juan to defend the door and keep the whole crew from rendering themselves completely useless.
Also, the ship-abandoning tactics of the sailors are not exactly epic. After failed attempts at building a raft, thirty-nine men including Don Juan and his dog and tutor save themselves by taking the longboat and cutter. Again, no mention is made of any selfless sacrifices made in deciding who would be saved and who would go down with the ship; there is no heroic embellishment. The escape of the lucky few is shown plainly as self-preservation by those who were able to secure a place for themselves in one of the smaller boats. This very unfortunate situation, in which nearly two hundred lives are lost, marks a turn toward the dark for the poem.
This darkening mood and tone get much darker when, stranded on the longboat, the sailors begin to succumb to their hunger and thirst. In a desperate and somewhat sickening grasp for survival, the crew tears up Don Juan’s love letter to use for lots to decide who will be killed and eaten first. Adding to the already gruesome scene when Pedrillo, Don Juan’s luckless tutor, is killed, the surgeon drinks his blood as his heart is still beating. Then Pedrillo is divided up among most of the men, who, after eating him, proceed to go completely insane, “tearing, and ginning, howling, screeching, swearing,” and finally dying, as if the whole episode had not been savage enough.
Byron’s depiction of these events is likely not unrealistic; it could be seen as a story of distress at sea without all the sugar-coating of classic epic poems or heroic tales of ships and their crews. He seems to criticize society’s naïve admiration and idolization of sailors, as well as their likely consideration of an event such as a storm at sea as an adventure. Because of this, it would seem, Byron is particularly attacking the British, as they have always had such pride in seafaring and admiration for their naval heroes. He presents a scenario that would likely be of especial interest to the British and completely un-romanticizes it, rubbing the ugly side of their heroic ideals in their faces.
Canto II stanzas 15-16
Within stanzas 15-16, Byron is focusing on the feelings of resentment that he may have for leaving his home of Spain to embark on a voyage with his servants and tutor Pedrillo. In the 15th stanza Byron says, “But Juan had got many things to leave, his mother, and a mistress, and no wife, So that he had much better cause to grieve than many persons more advanced in life.” These few lines raise a sort of weird question. Why would he have a better cause to grieve than someone who was actually married? You would think that since Don Juan is no longer together with Donna Julia, he should be free to go about his business and love on someone else. But since we know that Don Juan is known for his loving personality, it tears him apart to no longer be in the same place as Julia.
The 16th stanza has an interesting format. In it, the speaker of the poem actually breaks from the story and talks to the reader. Prefacing the conversation he says that Don Juan began to weep on the boat but he is unable to weep because he doesn’t have a weeping Muse. He then goes on to criticize Don Juan that Juan is overreacting to the voyage and he really shouldn’t be getting so hung up on such a little detail. The speaker thinks it is a very good thing for young men to travel in order to go out and explore the world and have fun. Switching to the speaker as a character does a few things for the reader. It personalizes the poem a lot more, reiterating to the reader that the speaker is speaking to “me” and not just telling a random story. This in turn makes the poem a bit more enjoyable and fun. It also plays on the mock epic style of this poem because Don Juan is weeping at going on an adventure. In a real epic poem the hero character is super manly and seeks the thrill from adventure and voyages. Don Juan is being a real baby by crying for his mommy and lost love.
The 16th stanza has an interesting format. In it, the speaker of the poem actually breaks from the story and talks to the reader. Prefacing the conversation he says that Don Juan began to weep on the boat but he is unable to weep because he doesn’t have a weeping Muse. He then goes on to criticize Don Juan that Juan is overreacting to the voyage and he really shouldn’t be getting so hung up on such a little detail. The speaker thinks it is a very good thing for young men to travel in order to go out and explore the world and have fun. Switching to the speaker as a character does a few things for the reader. It personalizes the poem a lot more, reiterating to the reader that the speaker is speaking to “me” and not just telling a random story. This in turn makes the poem a bit more enjoyable and fun. It also plays on the mock epic style of this poem because Don Juan is weeping at going on an adventure. In a real epic poem the hero character is super manly and seeks the thrill from adventure and voyages. Don Juan is being a real baby by crying for his mommy and lost love.
Canto II Stanzas 1-5
In Canto II by Lord Byron, he is basically criticizing Don Juan in stanzas 1 through 5. In stanza 1, Byron states
O ye who teach the ingenuous youth of nations,
Holland, France, England, Germany, or Spain,
I pray ye flog them upon all occasions;
It mends their morals, never mind the pain.
The best of mothers and of educations
In Juan’s case were but employed in vain,
Since in a way that’s rather of the oddest, he
Became divested of his native modesty.
Byron begins to critique Juan within a few sentences. The last sentence he digs deep to say that he was stripped of his natural diffidence. Byron uses diction to condemn Juan throughout stanzas 1 through 5.
In stanza 2, it states “Had he been placed at public school, In the third form or even in the fourth, His daily task had kept his fancy cool”. Here, he basically says that his mom should have put him in public school. In the same stanza, Byron states “A lad of sixteen causing a divorce”. His choice of words is appalling because lad may be a derogative term for young boy. Throughout the rest of the stanzas, Byron is speaking on Juan’s family and where Juan moved to (Cadiz). He not only criticizes Juan but his mother as well. He states “His lady mother, mathematical, A- never mind”. For him not to finish his sentence about his mother means that he has nothing good to say about her. He seems to use everyday words to criticize Juan and his mother.
In stanza 5, it states “And such sweet girls-I mean, such graceful ladies. Their walk would make your bosom swell;” He not only talks about Juan but about the girls in the town where Juan moved. Byron has something to say about everyone in this Canto. Mainly he uses diction to censure everyone especially Juan.
Wednesday, April 22, 2009
Don Juan and Philosophy?
The second half of Canto 1 is full of just as many witty one liners, disdainful comments on the foolishness of other poets, and disparaging observations about the whole of mankind, but the part of this poem I would like to focus on falls between stanzas 122 and 133. Within these lines Byron seems to reveal what may be the key to a possible philosophical standpoint of this poem. Like many of Byron's side comments this too is a social commentary, but is unlike the conversational silliness of his other remarks. These lines seem much more restrained and poetically organized, for example: Tis sweet to hear/At midnight on the blue and moonlit deep/ the song and oar of Adria's gondalier/ by distance mellowed, o'er the waters sweep". The first half of these stanzas (122 through 127)is a recollection of all the things that bring one pleasure in life. They range from the pleasure of a boat trip at midnight to the ultimate pleasure of sex, and in between Byron runs through with uncommon sensitivity other simple wonders of pleasure. Of course Byron marks sex as the greatest manifestation of pleasure, but he seems bothered by the fact that our greatest pleasure is veiwed as a great sin.
He goes on in the second half of these stanzas to make remarks about the progress of the city. He notices how highly society seems to value new discoveries. At first these lines don't make sense and seem quite disconjunct with the previous lines about pleasure. That is until one reads these lines:
"Timbuctoo travels, voyages to poles/ are always to benifit mankind, as true/ Perhaps as shooting them at Waterloo"
With these three lines Byron reveles that he has a disdain for the idea of progress and invention, expecially if it's done under the guise of benifiting mankind. He thinks you might as well kill somebody for all the good progress does them. And doesn't this hold true with our modern day thoughts on technology? Don't many people think that progress has ruined the simple pleasures of an older less complicated time. That is why Byron so dislikes these new discoveries. Not because he thinks they are bad in and of themselves, but because they ruin the joy and pleasure of life that he so revels in, and that makes life worth living.
He goes on in the second half of these stanzas to make remarks about the progress of the city. He notices how highly society seems to value new discoveries. At first these lines don't make sense and seem quite disconjunct with the previous lines about pleasure. That is until one reads these lines:
"Timbuctoo travels, voyages to poles/ are always to benifit mankind, as true/ Perhaps as shooting them at Waterloo"
With these three lines Byron reveles that he has a disdain for the idea of progress and invention, expecially if it's done under the guise of benifiting mankind. He thinks you might as well kill somebody for all the good progress does them. And doesn't this hold true with our modern day thoughts on technology? Don't many people think that progress has ruined the simple pleasures of an older less complicated time. That is why Byron so dislikes these new discoveries. Not because he thinks they are bad in and of themselves, but because they ruin the joy and pleasure of life that he so revels in, and that makes life worth living.
"Don Juan": Not a Prolific Epic
Don Juan
“Don Juan” is a very interesting poem as a result of Lord Byron’s unconventional use of the epic form of poetry. In some of the previous blogs on Byron’s “Don Juan” there were discussions of this poem being an attempt to reform the epic poem and ridicule the epic poem.
The idea that Byron was attempting to reform the epic poem seems plausible when considering the epic poems that precede this poem. Many such epic poems and their creators are included in the focus of this poem. It seems that Byron severely lacks respect for the poets and their work that came before his epic poem. Byron ridicules Wordsworth and Coleridge, among others, saying that Wordsworth is “crazed beyond all hope.” This is striking to me because “The Prelude” by William Wordsworth seems to be a form of the epic that is much more difficult to write. Wordsworth’s language and ideas in “The Prelude” are so much more complex than Byron’s in “Don Juan”. Wordsworth uses abstract ideas and phrases in order to display a very complex and concrete maturation of his poetic mind and its connection with Nature. Neither Byron’s language nor his ideas are nearly as multifaceted in this poem as Wordsworth’s in “The Prelude”. This poem is an epic poem, but one that should not be held in the high esteem of the epics by Homer, Milton, and Wordsworth. “Don Juan” is simply a poem telling an embellished story with seemingly randomly placed tangential reflections. In stanzas 128 through 134 Byron digresses into his reflections about man and his achievements that seem to wander away from the reflections that would coincide with the situation of the story.
As for the idea that Byron wrote this poem with the intentional purpose of ridiculing the epic poem, this does not seem so plausible. Towards the end of Canto I Byron begins to discuss the purpose of his epic poem and the nature of everlasting fame. Starting in stanza 200 Byron basically begins tooting his own horn by stating the merits of his epic and the faults of others’. Byron even defends the morality of his poem to his reader. It seems that a great epic poem would not need to make these assertions. While Byron’s poem is entertaining and easy to read, it is not a prolific work of poetry as are the works of the poets from which he detracts.
“Don Juan” is a very interesting poem as a result of Lord Byron’s unconventional use of the epic form of poetry. In some of the previous blogs on Byron’s “Don Juan” there were discussions of this poem being an attempt to reform the epic poem and ridicule the epic poem.
The idea that Byron was attempting to reform the epic poem seems plausible when considering the epic poems that precede this poem. Many such epic poems and their creators are included in the focus of this poem. It seems that Byron severely lacks respect for the poets and their work that came before his epic poem. Byron ridicules Wordsworth and Coleridge, among others, saying that Wordsworth is “crazed beyond all hope.” This is striking to me because “The Prelude” by William Wordsworth seems to be a form of the epic that is much more difficult to write. Wordsworth’s language and ideas in “The Prelude” are so much more complex than Byron’s in “Don Juan”. Wordsworth uses abstract ideas and phrases in order to display a very complex and concrete maturation of his poetic mind and its connection with Nature. Neither Byron’s language nor his ideas are nearly as multifaceted in this poem as Wordsworth’s in “The Prelude”. This poem is an epic poem, but one that should not be held in the high esteem of the epics by Homer, Milton, and Wordsworth. “Don Juan” is simply a poem telling an embellished story with seemingly randomly placed tangential reflections. In stanzas 128 through 134 Byron digresses into his reflections about man and his achievements that seem to wander away from the reflections that would coincide with the situation of the story.
As for the idea that Byron wrote this poem with the intentional purpose of ridiculing the epic poem, this does not seem so plausible. Towards the end of Canto I Byron begins to discuss the purpose of his epic poem and the nature of everlasting fame. Starting in stanza 200 Byron basically begins tooting his own horn by stating the merits of his epic and the faults of others’. Byron even defends the morality of his poem to his reader. It seems that a great epic poem would not need to make these assertions. While Byron’s poem is entertaining and easy to read, it is not a prolific work of poetry as are the works of the poets from which he detracts.
Monday, April 20, 2009
don juan
Almost everyone is familiar with the epic story of Don Juan. However, in Lord Byron’s poem “Don Juan”, we see a different side to the infamous character that was once seen as a womanizer. Through the usage of satire and comedy, Lord Byron mocks epic poems, and gives his own flavor and perception on events. In my opinion, Byron’s humorous view of gallantry and epic poems is made strong through various techniques he uses in order to display how ridiculous they truly are.
The first thing that stood out to me about this poem was the fact that Byron calls out on other epic poems as being insignificant and even boring or repetitive. Byron lists name after name of authors and poets who are so similar to each other, that they are at times indistinguishable. This listing of names gives off a sense of boredom, in my opinion causing the reader to understand Byron’s sarcastic tone throughout the poem. He argues that although these poems were seen as remarkable and important at times, that they are not “adapted to my rhymes.” I think this shows that Byron sees himself as a more modern poet, who sees things in a light that other poets in history have not been able to.
Byron seems to think himself more innovative and original than other poets. He claims that his methods are different, and that he doesn’t follow the plan set up by others. One technique that Byron uses that differs from other poets, such as Wordsworth, is that it is much more personable. For example, he uses such phrases as “Begot—but that to come-- “ and “if you’d rather”, talking to the reader. This makes the poem come off as much more modern, and accessible to a larger amount of readers.
Also, Byron’s rhymes are very humorous at times, such as when he says “her guardian angel had given up his garrison; even her minutest motions went as well as those of the best time-piece made by Harrison.” Byron pokes fun at other authors such as this in a way that seems modern for his time period.
Through using such techniques, I would argue that Byron does stray away from the path set before him. His humor stands out as compared to others that we have read thus far, and his sarcastic tone makes the poem much easier to read and comprehend than that of authors such as Wordsworth.
Byron's efforts to reform the epic poem: epic fail
What strikes me most about the first 110 verses of Don Juan is how little Byron mentioned Juan as a point of prominence. It is, of course, fitting to provide a backdrop for a story such as Byron’s, but it seems excessive to enumerate even the details of mistresses and domestic troubles, that his mother particularly likes mathematics and that the narrator doesn’t think educated women should be marrying dotes like Jose.
At any rate Don Juan doesn’t have the feel of an epic tale. I am going to attribute this to the casual tone Byron uses as well as the rhyme structure that motivates the narrative along. The way the stanzas are divided into almost what could be called “half sonnets,” with a quatrain and a couplet, moves the reader along at a certain undulating pace. To add to this, the verse is familiar in tone and comes off as portraying more a fairy tale essence than the serious work of a poet. What came to mind first when I picked up on these elements was that it seemed as if each stanza were almost limerick-esque and that the whole of the work would turn out to be a frolic through the life of Don Juan. I suppose that could be lending to the fact that Don Juan is seen as a sort of romantic conquistador and that his life is this sort of light-hearted romp through time and space.
Even so, Byron seems to infuse a great deal of personal opinion into the story, describing his tastes and his preferences. He even goes so far as to offer suggestions for the roles of men and women: “a real husband always is suspicious” and earlier he applauds Donna for being concerned when new women entered her husband’s purview.
All of this is kind of jarring when approaching what is supposed to be an epic poem about an epic character. Compared to the giants of epic poetry, Virgil, Homer, Ovid (all of whom Byron mentions in less than complimentary terms) Byron seems to be a rebellious teenager, giddily laughing at the smut novel in the corner of class.
But perhaps that’s too harsh.
At any rate Don Juan doesn’t have the feel of an epic tale. I am going to attribute this to the casual tone Byron uses as well as the rhyme structure that motivates the narrative along. The way the stanzas are divided into almost what could be called “half sonnets,” with a quatrain and a couplet, moves the reader along at a certain undulating pace. To add to this, the verse is familiar in tone and comes off as portraying more a fairy tale essence than the serious work of a poet. What came to mind first when I picked up on these elements was that it seemed as if each stanza were almost limerick-esque and that the whole of the work would turn out to be a frolic through the life of Don Juan. I suppose that could be lending to the fact that Don Juan is seen as a sort of romantic conquistador and that his life is this sort of light-hearted romp through time and space.
Even so, Byron seems to infuse a great deal of personal opinion into the story, describing his tastes and his preferences. He even goes so far as to offer suggestions for the roles of men and women: “a real husband always is suspicious” and earlier he applauds Donna for being concerned when new women entered her husband’s purview.
All of this is kind of jarring when approaching what is supposed to be an epic poem about an epic character. Compared to the giants of epic poetry, Virgil, Homer, Ovid (all of whom Byron mentions in less than complimentary terms) Byron seems to be a rebellious teenager, giddily laughing at the smut novel in the corner of class.
But perhaps that’s too harsh.
Sunday, April 19, 2009
Life the Universe and Everything
Lord Byron seems to use "Don Juan" as a device to comment on life the universe and everything. The form of an epic poem is quite appropriate for this task, and with it he manages, in just the first thirty pages to comment on everything from gossip to the church. And while the poem puts on the mask of an epic, Lord Byron only sporadically produces anything that can be construed as plot. His great epic feels more like a great farce.
The epic poem is ideal for Lord Byron's task of discussing every social topic he can possibly think of, because it is a form that is intended to have far reaching scope. Byron turns that idea upon it's head by making the poem socially extravagant rather than geographically so. His characters exist on extremes of personality. For example Don Juan's mother is morally incorruptible, and Don Juan himself as a young man knows absolutely nothing of sex. Then there are the characters of Julia and Alfonso, who exists on opposite ends of the age spectrum. Byron further turns the epic poem on it's head by focusing not on a hero of war, but instead on a hero of physical love. He even insults the epic poem by beginning "with the beginning". This comedic take on life the universe and everything certainly lacks the tone, if not the breadth, of an epic poem.
While the poem is ironically that of an epic, it's main substance is personal commentary by the author, which , while amusing, makes for jarring and inconsistent story telling. It also allows Byron to comment on every nuance of the human condition and ridicule it. Nothing is sacred in his eyes. His main topics of discourse and derision are other poets and religion, both of which he finds ridiculous and lacking in sense. In short, he seems to have an opinion on everything, and that opinion is almost always negative.
It is unclear weather or not Byron intends his audience to take anything he is saying to heart.His comical and colorful commentary lacks the sage like wisdom of Shakespeare's fools, as well as the spiteful irony of Swift's " A Modest Proposal". Perhaps the opaqueness of the meaning behind this work is the true stroke of poetry that keep readers intrigued. (And of course the forbidden subject matter)
The epic poem is ideal for Lord Byron's task of discussing every social topic he can possibly think of, because it is a form that is intended to have far reaching scope. Byron turns that idea upon it's head by making the poem socially extravagant rather than geographically so. His characters exist on extremes of personality. For example Don Juan's mother is morally incorruptible, and Don Juan himself as a young man knows absolutely nothing of sex. Then there are the characters of Julia and Alfonso, who exists on opposite ends of the age spectrum. Byron further turns the epic poem on it's head by focusing not on a hero of war, but instead on a hero of physical love. He even insults the epic poem by beginning "with the beginning". This comedic take on life the universe and everything certainly lacks the tone, if not the breadth, of an epic poem.
While the poem is ironically that of an epic, it's main substance is personal commentary by the author, which , while amusing, makes for jarring and inconsistent story telling. It also allows Byron to comment on every nuance of the human condition and ridicule it. Nothing is sacred in his eyes. His main topics of discourse and derision are other poets and religion, both of which he finds ridiculous and lacking in sense. In short, he seems to have an opinion on everything, and that opinion is almost always negative.
It is unclear weather or not Byron intends his audience to take anything he is saying to heart.His comical and colorful commentary lacks the sage like wisdom of Shakespeare's fools, as well as the spiteful irony of Swift's " A Modest Proposal". Perhaps the opaqueness of the meaning behind this work is the true stroke of poetry that keep readers intrigued. (And of course the forbidden subject matter)
Don Juan-Canto I
Lord Byron's, 'Canto I," is an exploration of the life of the famous Don Juan.
This peom is presented with a more satiric flavor rather than a simple biography.
Byron reverses the originial story of Don Juan by illustrating Juan as a man
easinly prevoked by women, instead of him being a womanizer. In "Canto I," Byron makes it clear that Don Juan is of somoeone that is in a category of himself; he is
a hero for a reason and easily remembered, but unlike the others (Napolean, Prince Ferdinand, etc) he is never forgotten. This is possible because so many others have written their own versions of Don Juan's being, with Byron's being one of the most popular. It appears to be the most popular because he speaks of Juan's being as if he were there nd knew everything that was going on in his life.
Byron presents in the beginning of the poem, that the poem will not be filled with any imagination or philosophical references as Wordsworth did in his poems. Therefore, 'Canto I" appears to be a comparison poem between Lord Byron vs. Wordsworth vs. "The rest of them". Previously, we have focused on Wordsworth analysis of Nature and it's philosophical effects, but Byron takes this poem into another direction filled with satire and amusement, peripeteia, and discoveries.
Don Juan's father, Don Jose, is the most amusing character in Lord Byron's "Canto I"
because, for one, he has the smallest reference in the poem that is filled with a lot of interesting characterisitics; they describe the affects and the emotions that each character feels in the poem, and the outcome on young Don Juan at the time.
"For Inez called some druggists and physicians
And tried to prove her loving lord was mad,
But as he had some lucid intermissions,
She next decided he was only bad...
She kept a journal, where his faults were noted,
And opened certain trunks of books and letter,
All which might, if occasion served, be quoted."
Stanza 27 and 28 exhibits the extreme amusement that Don Jose brought to the poem
as a chracter. Women usually keep a journal not solely to talk about the things that that there husband or loved ones do wrong, but to discuss dreams and goals
and admirations. Don Juan had his own journal hahahahaha! But in the reality of
the story of Don Juan, his father's characterisitics are embedded in Juan as he
begins to mature and adventures life on his own.
We discover that Don Juan was taught by his mother after his father died of a disease solely based on morals. i belive that this is why the poem has no distinction of imagination in it--because his mother prohibited it. She felt it
was necessary for Juan to expereince life just as it is, and learn about the things
that he could be dealing with in the future. I credit Lord Bryon for stanzas 90 to 96 becuase it is filled with Juan's own being; he is now teaching HIMSELF how to think and imagine. This is in reference to Wordsworth who speaks about imagination, growth, and maturity throughout his poems. In the same breath, I find it ironic that Bryon states that the way that Don Juan begins to approach himself and become his own person, is not because of Wordsworth's poems that he read or anyone else's, but because he was becomeing more educated and was trying to escape a world that he did not want to be in any longer.
It is known that Don Juan is of the high class, as he received his father's inheritance when he died, but it leaves the reader wondering "why would Lord Byron create a poem that reverses the assumed lifestyle that a nobleman lived? Why is Juan being womanized but is not the womanizer? Why does Bryon not show the rebellious eager side of Juan to defy his mother's teachers and be his own man--be like his father?" I suppose in a way these questions are answered becuase Juan does begin to imagine, even though Byron made it clear in the beginning of the poem that there would not be any distinction of imagination as well as his mother. But I believe that there is a deeper meaning to this purpose, whether Lord Byron was simply tired of the same old story being told the same old way, or he himslef imagined being Don Juan and created his own destinations for the character in third person.
This peom is presented with a more satiric flavor rather than a simple biography.
Byron reverses the originial story of Don Juan by illustrating Juan as a man
easinly prevoked by women, instead of him being a womanizer. In "Canto I," Byron makes it clear that Don Juan is of somoeone that is in a category of himself; he is
a hero for a reason and easily remembered, but unlike the others (Napolean, Prince Ferdinand, etc) he is never forgotten. This is possible because so many others have written their own versions of Don Juan's being, with Byron's being one of the most popular. It appears to be the most popular because he speaks of Juan's being as if he were there nd knew everything that was going on in his life.
Byron presents in the beginning of the poem, that the poem will not be filled with any imagination or philosophical references as Wordsworth did in his poems. Therefore, 'Canto I" appears to be a comparison poem between Lord Byron vs. Wordsworth vs. "The rest of them". Previously, we have focused on Wordsworth analysis of Nature and it's philosophical effects, but Byron takes this poem into another direction filled with satire and amusement, peripeteia, and discoveries.
Don Juan's father, Don Jose, is the most amusing character in Lord Byron's "Canto I"
because, for one, he has the smallest reference in the poem that is filled with a lot of interesting characterisitics; they describe the affects and the emotions that each character feels in the poem, and the outcome on young Don Juan at the time.
"For Inez called some druggists and physicians
And tried to prove her loving lord was mad,
But as he had some lucid intermissions,
She next decided he was only bad...
She kept a journal, where his faults were noted,
And opened certain trunks of books and letter,
All which might, if occasion served, be quoted."
Stanza 27 and 28 exhibits the extreme amusement that Don Jose brought to the poem
as a chracter. Women usually keep a journal not solely to talk about the things that that there husband or loved ones do wrong, but to discuss dreams and goals
and admirations. Don Juan had his own journal hahahahaha! But in the reality of
the story of Don Juan, his father's characterisitics are embedded in Juan as he
begins to mature and adventures life on his own.
We discover that Don Juan was taught by his mother after his father died of a disease solely based on morals. i belive that this is why the poem has no distinction of imagination in it--because his mother prohibited it. She felt it
was necessary for Juan to expereince life just as it is, and learn about the things
that he could be dealing with in the future. I credit Lord Bryon for stanzas 90 to 96 becuase it is filled with Juan's own being; he is now teaching HIMSELF how to think and imagine. This is in reference to Wordsworth who speaks about imagination, growth, and maturity throughout his poems. In the same breath, I find it ironic that Bryon states that the way that Don Juan begins to approach himself and become his own person, is not because of Wordsworth's poems that he read or anyone else's, but because he was becomeing more educated and was trying to escape a world that he did not want to be in any longer.
It is known that Don Juan is of the high class, as he received his father's inheritance when he died, but it leaves the reader wondering "why would Lord Byron create a poem that reverses the assumed lifestyle that a nobleman lived? Why is Juan being womanized but is not the womanizer? Why does Bryon not show the rebellious eager side of Juan to defy his mother's teachers and be his own man--be like his father?" I suppose in a way these questions are answered becuase Juan does begin to imagine, even though Byron made it clear in the beginning of the poem that there would not be any distinction of imagination as well as his mother. But I believe that there is a deeper meaning to this purpose, whether Lord Byron was simply tired of the same old story being told the same old way, or he himslef imagined being Don Juan and created his own destinations for the character in third person.
Don Juan
Lord Byron is known as one of the greatest poets of all time because of his digression of the traditional epic poem towards a unique personal style. His unique style has been come to be respected throughout time. Lord Byron’s Don Juan mocks the epic tradition of poetry through the use of silly rhymes, commentary on the importance of thinking philosophically, and by allusions to other poets in stanzas 40-42 and stanzas 88-92 in Canto 1.
Throughout Canto 1 Byron utilizes silly rhymes as a way to mock traditional epic poetry. In lines 40-42 it is apparent that rhymes such as, “Because of filthy loves of gods and goddesses/ who in the earlier ages raised a bustle/ but never put on pantaloons or bodices,” are meant to be used in a humorous way rather than the traditional rhyming of other poets at the time. Not only are the actual lines seen here structurally and rhythmically mocking the traditional epic poem but the tone also plays along with the rhyming to make it seem like more of a nursery rhyme rather than an epic poem. Similar silly rhymes can be seen in lines 88-92 when Byron describes sitting in the forest around the “sublime nature” where many poets got their great ideas from “so that their plan and prosody are eligible/ unless like Wordsworth they prove unintelligible.” This rhyme or eligible and unintelligible seems like a juvenile, mocking play on words rather than a true well thought out rhyme like most poets would have come up with. It is apparent that the use of silly rhymes is indeed used to mock the epic poem.
Byron also utilizes commentary on the importance of thinking philosophically as a way to digress from the traditional epic poem. Instead of reveling and praising thinking philosophically Byron almost mocks and criticizes spending your time in this way. As mentioned earlier he goes out into nature where many other poets found themselves thinking about the world and how it works and instead of thinking about the meaning of life he compares the “skies” to “Donna Julia’s eyes.” In stanza 92 he states, “ He thought about himself and the whole earth,” and later in the last section of the stanza after thinking about wars, birth, and nature he states, “To perfect knowledge of the boundless skies/ and then he thought of Donna Julia’s eyes.” During a meditative deep state as this it is strange that he would compare his thoughts on the universe to a woman’s eyes. This digression from what you would expect to see in philosophical thinking session proves that Byron’s use of mocking philosophical thinking digresses from what one would usually see throughout a work of epic poetry.
Lastly, Byron utilizes negative allusions to other poets throughout his time to mock traditional thinking and epic poetry at the time. In stanzas 90 and 91 Byron mocks both Wordsworth and Coleridge. In the last two lines of stanza 90 Byron states, “so that their plan and prosody are eligible/ unless like Wordsworth they prove unintelligible.” He deliberately mocks the works of Wordsworth, who is thought to be one of the greatest poets of all time, by calling them “unintelligible.” In stanza 91 Byron once again mocks a poet by stating, “like Coleridge into a metaphysician.” He seems to be negatively attributing the word metaphysician to Coleridge as though he is stating that this is not a good attribute. Byron’s criticism of some of the deepest thinkers of the time proves that he is mocking the traditional epic poem.
Byron’s use of silly rhymes, commentary on philosophical thinking, and allusions to other poets of his time allow him to mock the tradition of epic poems. Byron utilizes these structural tools in such a way that allows him to reveal his beliefs on the works and fellow coleages of the time. His thoughts on the problems of poets in his time are clearly seem throughout Canto 1 in Don Juan.
Throughout Canto 1 Byron utilizes silly rhymes as a way to mock traditional epic poetry. In lines 40-42 it is apparent that rhymes such as, “Because of filthy loves of gods and goddesses/ who in the earlier ages raised a bustle/ but never put on pantaloons or bodices,” are meant to be used in a humorous way rather than the traditional rhyming of other poets at the time. Not only are the actual lines seen here structurally and rhythmically mocking the traditional epic poem but the tone also plays along with the rhyming to make it seem like more of a nursery rhyme rather than an epic poem. Similar silly rhymes can be seen in lines 88-92 when Byron describes sitting in the forest around the “sublime nature” where many poets got their great ideas from “so that their plan and prosody are eligible/ unless like Wordsworth they prove unintelligible.” This rhyme or eligible and unintelligible seems like a juvenile, mocking play on words rather than a true well thought out rhyme like most poets would have come up with. It is apparent that the use of silly rhymes is indeed used to mock the epic poem.
Byron also utilizes commentary on the importance of thinking philosophically as a way to digress from the traditional epic poem. Instead of reveling and praising thinking philosophically Byron almost mocks and criticizes spending your time in this way. As mentioned earlier he goes out into nature where many other poets found themselves thinking about the world and how it works and instead of thinking about the meaning of life he compares the “skies” to “Donna Julia’s eyes.” In stanza 92 he states, “ He thought about himself and the whole earth,” and later in the last section of the stanza after thinking about wars, birth, and nature he states, “To perfect knowledge of the boundless skies/ and then he thought of Donna Julia’s eyes.” During a meditative deep state as this it is strange that he would compare his thoughts on the universe to a woman’s eyes. This digression from what you would expect to see in philosophical thinking session proves that Byron’s use of mocking philosophical thinking digresses from what one would usually see throughout a work of epic poetry.
Lastly, Byron utilizes negative allusions to other poets throughout his time to mock traditional thinking and epic poetry at the time. In stanzas 90 and 91 Byron mocks both Wordsworth and Coleridge. In the last two lines of stanza 90 Byron states, “so that their plan and prosody are eligible/ unless like Wordsworth they prove unintelligible.” He deliberately mocks the works of Wordsworth, who is thought to be one of the greatest poets of all time, by calling them “unintelligible.” In stanza 91 Byron once again mocks a poet by stating, “like Coleridge into a metaphysician.” He seems to be negatively attributing the word metaphysician to Coleridge as though he is stating that this is not a good attribute. Byron’s criticism of some of the deepest thinkers of the time proves that he is mocking the traditional epic poem.
Byron’s use of silly rhymes, commentary on philosophical thinking, and allusions to other poets of his time allow him to mock the tradition of epic poems. Byron utilizes these structural tools in such a way that allows him to reveal his beliefs on the works and fellow coleages of the time. His thoughts on the problems of poets in his time are clearly seem throughout Canto 1 in Don Juan.
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