LITR 5535: American
Romanticism
Sample Student Research Project, fall 2003
Christopher Lucas
Dr. Craig White
Literature 5535
18 November 2003
American Romance Journal
BYRONIC HEROES, YESTERDAY AND TODAY
Introduction:
Prior to this class, I was completely unfamiliar with the term Byronic Hero. As we discussed the term in class, I began to realize that many of the “common” heroes of today, at least partially, fit our definition. Our example of Magua, from The Last of the Mohicans, presented a fairly good prototype. Other characters such as Batman or William Wallace, from the movie Braveheart, also spring to mind when discussing this topic. These characters present the full range of human emotion. By displaying their darkness and depth, we can more readily identify with them.
By way of contrast, heroes with purely good characteristics, or one-dimensional heroes, are becoming more difficult to find. In this genre, one of the first heroes to come to mind is Superman. Superman never shows us a dark or brooding side of his character. For this hero, there is a clear line between right and wrong, or good and evil. As a result, we are given very little to work with in the way of depth for the character. His background is fairly well flushed out, yet Superman is very flat when compared to more fully developed heroes, such as Jean Valjean from Les Miserables.
Continuing along with this train of thought, heroes from Old Western movies and TV also represent the purely good hero. By simply looking at the color of a cowboy's hat we can tell the bad guys from the good guys. Here again, the line between good and evil is clearly marked, as a result these characters appear flat and one-dimensional. Anecdotally, it appears that these types of heroes are not only harder to find, but even harder to believe in. Perhaps this is the result of a more savvy audience, or possibly a society becoming more and more cynical.
What is a Byronic
Hero?
Text Review:
Thorslev, Peter Larson. The Byronic Hero: Types and
Prototypes. Minneapolis: University of
Minnesota Press, 1962.
Wilson, James. The Romantic Heroic Idea, Baton
Rouge: Louisiana State University Press,
1982.
Rutherford, Andrew. Byron: A Critical Study,
Stanford: Stanford University Press, 1961.
Railo, Eino. The Haunted Castle; A Study of the
Elements of English Romanticism. New
York: Humanities Press, 1964.
In beginning my exploration for this research journal, I realized that the first order of business had to be to get a good working definition of a Byronic hero. In an effort to pin down precisely what a Byronic hero is, I began spelunking through reference books to get a feel for how the literary community defines the term. Initially, I thought there would be a fairly simple and straight forward definition for the term. As it turns out, however, there are several varying and sometimes competing definitions floating around. Ultimately, it appears everything boils down to list of general characteristic attributed to this type of hero, but no universally accepted, or concrete, definition.
One of the more commonly cited definitions has
been developed by Peter Thorslev in his book The Byronic Hero.
Essentially, Thorslev defines the character as a
rebellious person who typically displays several dark qualities. The hero
appears to be “larger than life” and displays superior intelligence, all the
while remaining extremely sensitive and emotional. Thorslev points out that normally, the hero must overcome
some traumatic event through which “the loss of his titanic passions, his
pride, and his certainty of self-identity, he also loses his status as [a
traditional] hero" (187).
Thorslev adds to his definition, pointing out
that the Byronic hero is normally separated from mainstream society.
In some instances, the hero is forced out by society, at other times he
chooses his own isolation. Additionally,
the character displays superior intellect and a strong emotional connection to
certain topics he deems important. These
attributes of isolation and almost fanatical emotional commitment result in the
Byronic hero being seen as arrogant, exceedingly sensitive, and at times
severely self-conscious.
In the area of romance, the Byronic hero is
"invariably courteous to women, often loves music or poetry, has strong
sense of honor and carries about with him like the brand of Cain a deep sense of
guilt" (Thorslev, 8). This
softer side of the hero makes him more human and provides a new level of depth
for the character. Without this
compassion, the hero can easily be seen as a madman, making him difficult to
identify with and more difficult to believe in.
The characters of Wallace and Valjean fit well
within the definition thus far. Both
heroes have experienced and overcome traumatic events early on in their lives.
Each character demonstrates abilities or attributes which make them
appear "larger than life." Wallace
displays uncanny military and leadership skills, while Valjean exhibits an
almost super human strength.
Additionally, both characters are forced to live separate and somewhat
isolated from society for their own self-preservation.
Each hero also displays strong, impassioned commitment for their cause,
be it Scottish independence, or in Valjean's case, Cosette. Finally, each hero reveals a tender underside in his
relationships with women. At times,
each is willing to risk their lives for the women they love.
In a slightly different definition put forward
by Cole Wylie, at the Shawnigan Lake Boarding School
in Canada, the Byronic hero is defined as:
"Proud, moody, cynical,
with defiance on his brow, and misery in his heart
[...] implacable in revenge,
yet capable of deep and strong affection.
The Byronic Hero can be related to Dr. Frankenstein, who is a very proud man,
is full of misery and definitely implacable when it comes to revenge” (Wylie).
Yet another definition, this time from the
Georgia Southern University, Glossary of Gothic Literary Terms,
identifies the Byronic hero as a later
variation of the "anthithetically mixed" Villain-Hero. The hero is,
"Aristocratic, suave, moody, handsome, solitary, secretive, brilliant,
cynical, sexually intriguing, and nursing a secret wound, he is renowned because
of his fatal attraction for female characters and readers and continues to
occasion debate about gender issues" (Quinnell).
Other noteworthy characteristics include a hero
who attempts to reject morality and hypocrisy while
searching for personal freedom in which he can define his own morality.
Still other definitions point out that a Byronic hero briefly experiences
true love, but loses it. As a
result, the character is fated to search endlessly in an effort to regain what
has been lost. The character is
also identified by his quick temperament and frequently oscillates between
happiness and depression, laughter and tears in an almost bi-polar manner (Comune).
Clearly, these definitions cast a fairly wide
net. In an effort to better focus
the definition I began to look for common threads and characteristics.
Adjectives such as moody, rebellious,
passionate, intelligent, proud, strong, injured, a sense of lost love and guilt,
as well as isolation, seem to be the most common attributes of this hero.
By incorporating these traits, the hero becomes easier to identify with
and relate to. These characteristic
give the hero more depth and make the hero more human.
With this general list of attributes in mind, I began exploring Byron's biography in an effort to better understand just what about his life caused this term to develop. It did not take long to realize how events of Byron's life supported the development type of new character. The connection was easy to see between Byron’s turbulent life and the creation of the Byronic definition.
Was Byron's life
Romantic?
Article Review:
Smith, Peter. Library of Literary Criticism.
Gloucester Mass: The Moulton Publishing Company,
1959.
Kunitz, Stanley. British Authors of The 19th Century. New York: The H.W. Wilson Publishing Company, 1936.
Throughout our course we have attempted to decipher what is, and what is
not, Romantic. We have looked at
the notion of rebellion, the cycle of desire and loss, and the quest for
anything but the "here and now."
In addition, we have examined the passion to transgress physical, social
and psychological boundaries.
Byron had arduous and sometimes self-destructive relationships with those around him and with society in general. Byron was never content to be where he was, he was always pushing boundaries and challenging society. In the realm of romance, he seemed incapable of escaping the cycle of desire and loss.
Byron's chaotic and
painful relationships began with his mother.
Their relationship was often volatile and at times violent.
To further compound this difficulty, Byron's father died when Byron was
still a small boy. In addition to
these early challenges, Byron was born with a deformed foot which proved to be a
constant source of strife throughout his life.
Throughout Byron's life there were several ill-fated love affairs.
Each relationship caused turmoil and chaos.
These affairs were often described as violent and detrimental to all
parties involved. For example, at
the age of 26, Byron “fell violently in love with his cousin Mary Anne
Chaworth” (Kunitz, 104), who rejected his attentions.
Later, in 1812-1813 Byron had “a furious love-affair with Lady Caroline
Lamb.” Eventually, this
relationship ended after several violent episodes.
Lamb later described Byron as “mad, bad, and dangerous to know”
(Kunitz,105).
To further exacerbate the desire and loss
storyline, Byron married and eventually fathered a child in 1815, at the age of
37. This relationship ended
abruptly when “Lady Byron when in the country with her child, and, after
causing inquiry to be made into her husband’s mental state, she refused to see
him again and insisted on a separation” (Kunitz, 105).
Following this relationship, Byron is rumored to have had an affair with
half sister Augusta Leigh. This
rumor was never substantiated, never the less, Byron’s reputation never
recovered. As a result of these
incestuous allegations, Byron chose to leave England, and never returned. In doing so, Byron was attempting to escape his situation of
the "here and now," in an effort to start his life anew in another
country.
In addition to his personal drama, Byron also
had difficulty dealing with his success and recognition as a writer.
Byron felt that writing, especially poetry, was less valuable use of
one's time than other more tangible pursuits.
"He [Byron] would speak disparagingly about authors as a class, and
he refused to be regarded as a mere poet or man of letters" (Rutherford,
1).
In his journal, Byron stated:
"Who would write, who had anything better
to do? Actions-actions, I say,
and not writing, least of all rhyme. Look at the querulous and monotonous
lives of the genus; except Cervantes, Tasso, Dante, Ariosto, Kliest (who
were brave and active citizens) Aeschylus, Sophocles, and some other of
the antiques also – what a worthless, idle brood it is!"
(Rutherford, 3).
In contrast to his recognition and success as a
writer, Byron saw himself as much more of a "Renaissance gentleman."
Byron "prided himself more on being a man of fashion and noble
birth, while he also liked to think of himself as a leader, politician and man
of action" (Rutherford, 1). In
this capacity, Byron was attempting to transgress his identity as a poet.
Clearly, Byron was not comfortable within the confines of a literary
existence and was pushing beyond his physical and psychological boundaries
within society.
Ultimately, it was Byron's desire to be a man of action coupled with desire to push boundaries and get away from the here and now that ended his life. Byron "longed for the opportunity for some noble action that would vindicate him in the eyes of his countrymen." As a result:
"When the London Greek Committee contacted him in April 1823 to act as its agent in aiding the Greek war for independence from the Turks, Byron immediately accepted the offer. All of his legendary enthusiasm, energy, and imagination were now at the service of the Greek army" (English History.net).
While serving in the Greek Army, "He employed a fire master to prepare artillery and took under his own command and pay the Souliot soldiers, reputedly the bravest of the Greeks" (English History.net). In February of 1824, Byron became exceedingly ill. His "illness" may have actually been two separate epileptic fits. As a result of his sickness, Byron was treated with standard practice of the time, which was bleeding with leaches.
Later in the spring of 1824, still suffering the effects of his illness and its remedy, Byron became very ill. He "caught a violent cold which was soon aggravated by the bleeding insisted on by the doctors. Though he briefly rallied, the cold grew worse; he eventually slipped into a coma. Around six o'clock in the evening of 19 April 1824, he passed away" (English History.net).
Following his death, Byron was mourned across Europe. The Greeks were so enamored with Byron that following his embalming, his heart was removed and buried in Missolonghi, Greece. Byron's body was then sent to England, where the remains were "refused burial in Westminster Abbey, placed in the vault of his ancestors near Newstead. Ironically, 145 years after his death, in 1969, a memorial to Byron was finally placed on the floor of the Abbey" (English History.net).
While sifting through the different Byron biographies, I began to get the sense that the line between fact and fiction may have been occasionally obscured. At times it becomes difficult to separate fact from fiction when reading about Byron’s life. For example, one literary reference discusses Byron’s early life and points out that “there was wild blood in the ancestry on both sides” (Kunitz, 104). I am not sure exactly what constitutes “wild blood” or how it can be quantified, but the assertion certainly does lend color to Byron’s portrait.
Later, Byron's life appears stylized and is portrayed as being larger than life. In The British Authors of The 19th Century, his life is summarized as follows: "His unusual beauty, his rank, his innumerable adventures in living, his breathless career of love-making, his groom… have combined with his poetic genius to create a figure in real life far more interesting and complicated than most heroes of fiction" (106). Quotes like the ones just mentioned, make it difficult to determine just how accurate these biographies are. Each biography attempts to paint an encompassing and accurate picture of the subject, beyond simply chronicling a person's life. But, by "romanticizing" Byron's life, it becomes difficult to discern what is real and what is not.
Ultimately however, the connection between
Byron's life and the Romantic is clear to see.
Probably the most fitting identification of Byron as Romantic came in
1924, when a third attempt was made to place a plaque for Byron in the Poet's
corner of Westminster Abby. On this
occasion, the application was rejected and the Dean of Westminster wrote:
"Byron, partly by his own openly dissolute
life and partly by the influence
of licentious verse, earned a worldwide reputation for immorality among
English-speaking people. A man who outraged the laws of our Divine
Lord, and whose treatment of women violated the Christian principles of
purity and honor, should not be commemorated in Westminster Abbey"
(English History.net).
In 1969, almost a century and a half after his
death, Byron was inducted into Westminster Abbey.
Finally, Byron had become "spiritually acceptable" in his
native land.
Student Paper and
Internet Review
Peterson, Jill. The Modern Byronic Hero: Xena and Heathcliff?, July 2002. http://coursesite.uhcl.edu/HSH/Whitec/LITR/5535/models/2002/projects/petersen.htm
Wylie, Cole. The Byronic Hero: http://slsweb.sls.bc.ca/staff/adeane/academia/Frankenstein/LiteraryTerms/ByronicHero.html
Unv. Michigan
http://www.umd.umich.edu/casl/hum/eng/classes/434/charweb/CHARACTE.htm
Paul Quinnell
http://www2.gasou.edu/facstaff/dougt/goth.html#vil
Comune
http://www.comune.livorno.it/isc/byronic_hero_.htm
English History
http://englishhistory.net/byron/contents.html
Atara Stein. California State University Fullerton.
http://www.rc.umd.edu/praxis/contemporary/stein/stein.html
As part of my preliminary background research, I read Jill Petersen's paper from the Summer 2002, UHCL American Romanticism class. I found the journal to be a good starting off point for my research and I was able to use some of the same sources for my own paper.
In reading Jill's conclusion, I realized how the competing definitions of a Byronic hero allow for a wide variety of characters to at least partially fit the mold. For example, I would not necessarily included characters such as Harrison Ford in the Fugitive or Keanu Reeves in the Matrix as Byronic heroes.
Clearly, these characters meet some of the criteria for a Byronic hero. They are intelligent, strong, somewhat isolated. Each hero has been the victim of some sort of injustice. Additionally, each hero displays at least some tenderness or anguish for women or a lost love.
On the other hand, neither character appears to
struggle with the same inner demons or passions that Byron did.
The movie characters appear to be more influenced and dictated by
external events, than driven by internal passion and emotion.
Byron's restlessness and specifically his decision to rebel, place him in
a different league from the Fugitive or the Matrix.
Conclusion
After completing my research, I feel I have a better understanding of what goes into the making of a Byronic hero. The characteristics and traits are clearly linked to the Romantic genre of writing. Additionally, I have a greater appreciation of how Byron's life and personality caused the development of a new literary term.
Throughout my research, I found myself trying to identify Byronic heroes from literature or recent movies. While going through this process, I found myself repeatedly bumping into the standard American success storyline. Often, a heroic character must overcome some sort of early trauma or difficulty in order to transcend in to something greater for the betterment of others. In this instance, the hero may have some Byronic qualities, but ultimately falls short of being a complete Byronic hero.
A hero such as Superman, has overcome early difficulties, displays strength, shows tenderness and is focused on a specific topic. What is missing is the almost destructive passion or dark quality that Byron displayed. Without these opaque qualities, the hero seems to present a less than complete portrait. As an audience it becomes difficult to identify and relate to the character.
Other heroes representing the standard American success storyline include real characters such as Abraham Lincoln and Frederick Douglas. Clearly these heroes overcame tremendous obstacles in their lives. In doing so, they displayed tremendous courage, passion, determination, rebellion, and compassion. But here again, each hero lacks the negative and somewhat destructive qualities of Byron.
Even within the confines of our classroom discussion of the Last of the Mohicans, our example of Magua may not fully fit the definition of a Byronic hero. Magua is temperamental, rebellious, strong, proud, passionate, and has been done a great injustice for which he seeks retribution. In many ways, Magua is almost the antithesis of Lincoln or Douglas. Yet, while Magua seems to represent all of the dark qualities of a Byronic hero, he seems to fall short in the realm of compassion, especially towards women. Magua appears completely void of sympathy for the two women in the story. At times, he may hint towards a softer side of himself, but this emotion is quickly replaced by his need for revenge.
Contrast Magua with William Wallace or Jean
Valjean and we see most of the same characteristics: each is passionate,
isolated, and rebellious. Where the characters divide is in the area of
compassion and sympathy for others, especially in the case of women.
Wallace has been devastated by the loss of his wife.
As a result, he is driven by guilt and compassion in his rebellion
against England. Valjean's adopted
daughter clearly owns his heart, causing him to risk his life to save hers.
As Thorlev says, the Byronic hero is burdened by a "strong
sense of honor and carries about with him like the brand of Cain a deep sense of
guilt" (8). In doing so, the
characters of Valjean and Wallace more accurately and fully fit the definition
of a Byronic hero.