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Don Juan
by George Gordon Byron, Baron Byron
- Language
- EN
- Format
- EPUB
- Size
- 2.3 MB
Description
"Don Juan" is a satirical epic poem that recounts the misadventures of a young man named Juan across various European and Russian settings. Written in ottava rima, the work spans sixteen cantos and depicts Juan's experiences involving romance, shipwrecks, slavery, and war. The poem challenges conventional morality and social norms through its humorous portrayals and sharp critique of public figures and societal conventions. Byron employs wit and irony to subvert traditional heroic ideals, presenting a critique of early 19th-century European society in a manner that was provocative at the time of publication.
The work was composed between 1819 and 1824, remaining unfinished at Byron’s death. Its style is characterised by vigorous satire and bold language, reflecting the author's contentious attitude toward social and political institutions. As a significant piece of British literature, "Don Juan" exemplifies Romantic-era literary experimentation, blending narrative poetry with social commentary. The poem’s structure and tone mark a departure from classical heroic epics, positioning it as a notable example of early 19th-century satire.
The work was composed between 1819 and 1824, remaining unfinished at Byron’s death. Its style is characterised by vigorous satire and bold language, reflecting the author's contentious attitude toward social and political institutions. As a significant piece of British literature, "Don Juan" exemplifies Romantic-era literary experimentation, blending narrative poetry with social commentary. The poem’s structure and tone mark a departure from classical heroic epics, positioning it as a notable example of early 19th-century satire.
From the opening pages
Bombs, drums, guns, bastions, batteries, bayonets, bullets,— Hard words, which stick in the soft Muses’ gullets. O, thou eternal Homer! who couldst charm All ears, though long; all ages, though so short, By merely wielding with poetic arm Arms to which men will never more resort, Unless gunpowder should be found to harm Much less than is the hope of every court, Which now is leagued young Freedom to annoy; But they will not find Liberty a Troy:— O, thou eternal Homer! I have now To paint a siege, wherein more men were slain, With deadlier engines and a speedier blow, Than in thy Greek gazette of that campaign; And yet, like all men else, I must allow, To vie with thee would be about as vain As for a brook to cope with ocean’s flood; But still we moderns equal you in blood; If not in poetry, at least in fact; And fact is truth, the grand desideratum! Of which, howe’er the Muse describes each act, There should be ne’ertheless a slight substratum. But now the town is going to be attack’d; Great deeds are doing—how shall I relate ’em? Souls of immortal generals! Phoebus watches To colour up his rays from your despatches. O, ye great bulletins of Bonaparte! O, ye less grand long lists of kill’d and wounded! Shade of Leonidas, who fought so hearty, When my poor Greece was once, as now, surrounded! O, Caesar’s Commentaries! now impart, ye Shadows of glory! (lest I be confounded) A portion of your fading twilight hues, So beautiful, so fleeting, to the Muse. When I call ‘fading’ martial immortality, I mean, that every age and every year, And almost every day, in sad reality, Some sucking hero is compell’d to rear, Who, when we come to sum up the totality Of deeds to human happiness most dear, Turns out to be a butcher in great business, Afflicting young folks with a sort of dizziness. Medals, rank, ribands, lace, embroidery, scarlet, Are things immortal to immortal man, As purple to the Babylonian harlot: An uniform to boys is like a fan To women; there is scarce a crimson varlet But deems himself the first in Glory’s van. But Glory’s glory; and if you would find What that is—ask the pig who sees the wind! At least he feels it, and some say he sees,
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