Summary (Magill's Survey of World Literature, Revised Edition)
Don Juan is a unique approach to the already popular legend of the philandering womanizer immortalized in literary and operatic works. Byron’s Don Juan, the name comically anglicized to rhyme with “new one” and “true one,” is a passive character, in many ways a victim of predatory women, and more of a picaresque hero in his unwitting roguishness. Not only is he not the seductive, ruthless Don Juan of legend, he is also not a Byronic hero. That role falls more to the narrator of the comic epic, the two characters being more clearly distinguished than in Byron’s Childe Harold’s Pilgrimage.
In Beppo: A Venetian Story, Byron discovered the appropriateness of ottava rima to his own particular style and literary needs. This Italian stanzaic form had been exploited in the burlesque tales of Luigi Pulci, Francesco Berni, and Giovanni Battista Casti, but it was John Hookham Frere’s (1817-1818) that revealed to Byron the seriocomic potential for this flexible form in the satirical piece he was planning. The colloquial, conversational style of ottava rima worked well with both the narrative line of Byron’s mock epic and the serious digressions in which Byron rails against tyranny, hypocrisy, cant, sexual repression, and literary mercenaries.
Byron opens Don Juan with a dedication to his old nemesis, Robert Southey, who was at the time poet laureate. Byron hated Southey for his turncoat politics, for his spreading of rumors about Byron, and for his weak verse. The publication of the first two cantos in 1818 created scandal and outrage for the author. Although the names of publisher and author did not appear on the title page, Byron’s identity was unmistakable. Even Byron’s friends—Hobhouse and others—though admiring the genius of the work, were shocked and concerned about its language and content. The invectives against contemporaneous writers and against Lady Byron smacked of slander; his comments on political and theological issues bordered on sedition and blasphemy. Byron, arguing that this was in fact “the most moral of poems,” remained steadfast against editing...
(The entire section is 884 words.)
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