Emanuela Kucik on Don Juan
In stanzas 100-216 of Canto II of Lord Byron’s Don Juan, Don Juan is the sole survivor of the shipwreck in the preceding stanzas. Juan manages to swim to an island, where he is rescued by the mistress Haidee and her maid, Zoe. As time passes, Juan and Haidee fall in love, and the canto ends without assurance of what exactly their relationship will lead to. One of the most interesting aspects of stanzas 100-216 is Haidee’s love for, and borderline obsession with, Juan. Byron uses visual imagery to depict the extent of Haidee’s love for Juan, particularly in the scenes in which Juan is sleeping and Haidee is watching over him.
This use of visual imagery in the sleeping scenes is exemplified in stanza 168. In this stanza, Haidee’s habit of coming into the cave early “to see her bird reposing in his nest,” is clearly depicted. The visual imagery in this stanza shows Haidee gently playing with Juan’s hair, so as not to wake him. The stanza continues to show Haidee “breathing all gently o’er his cheek and mouth,” a line which creates visual imagery clearly associated with both love and obsession. Since Haidee does not truly know Juan yet, I feel this borders more on obsession.
Haidee’s observation of Juan continues in stanza 171, which states that Juan woke to “the finest eyes,” implying that Haidee still watches Juan while he sleeps. This depiction of observation creates a clear visual image of a beautiful maiden standing over a sleeping, shipwrecked but beautiful man with a mixture of curiosity, love, and hope that she may restore him.
Through the visual imagery depicted in the scenes describing Haidee’s observation of Juan as he slumbers, Byron begins Juan and Haidee’s love story. Although Juan is unaware of Haidee’s watchful eyes as he sleeps, he is enraptured by those same eyes when he wakes. However, without the visual imagery created by Haidee’s watchfulness in the sleeping scenes, the depth of her passions would not be as clearly presented, for it is one thing to gaze lovingly at someone while he is awake, but it is another thing entirely to gaze lovingly at that person while he sleeps.
Sunday, April 26, 2009
Friday, April 24, 2009
In-class assignment for Friday, April 24
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?
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?
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.
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