Because my undergraduate degree is not in literature, prior to this course I was not familiar with the Byronic Hero.  As I heard the term mentioned repeatedly, I became interested in finding out the attributes of this type of character and how it originated.  AS I began to search research projects, I found that many students were interested in some aspect of the Byronic Hero.  Here are some answers I learned in an overview of research projects from past students.

WHAT IS THE BYRONIC HERO?

Chris Lucas, journal: "Byronic Heroes, Yesterday and Today" from the Fall 2003 Research projects

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. . .

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).

WHO WAS THE “CREATOR” OF THE BYRONIC HERO?

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). 

*QUESTION FOR CLASS: WHAT ARE SOME LITERARY EXAMPLES OF THE BYRONIC HERO FROM WORKS WE’VE STUDIED IN CLASS?

LINK TO http://coursesite.uhcl.edu/HSH/Whitec/LITR/5535/models/
2005/projects/rp05thrash.htm

http://coursesite.uhcl.edu/HSH/Whitec/LITR/5535/models/2002/
projects/petersen.htm

HOW HAS THE BYRONIC HERO EVOLVED?

Mary Brooks, essay: "The Emergence of the Byronic Heroine" from 2005 Research Project

THE BYRONIC HEROINE:

The shift in gender of the Byronic hero from hero to heroine was not something that happened over night, but was a process that began in fits and starts in American Romanticism with authors such as Margaret Fuller.  Ms. Fuller’s real life story and writings reflect the beginnings of the gender change of a Byronic heroine.  Margaret Fuller’s real life experiences certainly meet the definition of the standard Byronic heroine of a dark secret, her bastard child, and her self- imposed isolation from the society because of her past transgression. . .

The Byronic heroine has also turned up in television shows such as Dark Angel and Alias.  These shows reflect the fact that dark and complex characters are not only compelling to readers but also compelling to viewers.  The idea that dark characters must be males has been thankfully left by the way side. . .

Even though the alteration of the Byronic heroes gender is eventually successful it was not until the seventies that the Byronic heroine first showed her face in cinema in the form of Ellen Ripley in the movies Alien, Aliens, Alien 3 and Alien 4.  Ellen Ripley’s development into a Byronic heroine was unique in that her dark past that led her to become a Byronic heroine was documented in the first film.  Ellen Ripley’s transformation from a seemingly normal working woman to one with a dark and dangerous past who will not follow the orders of society can clearly be seen by the viewer.

Michelle Gooding, essay: "Film Noir and the Byronic Hero in 24" from 2005 Research Projects

POP CULTURE:

However, there are also the present some very romantic characters, including the Byronic hero, Jack Bauer.  These aspects of the show make 24 an excellent blend of Realism and Romanticism that is very attractive to a contemporary audience.  24 is a real-time show, where each hour-long episode is an hour in the life of the characters.  The season as a whole makes up one 24-hour day.  The show concerns a Federal agency called the Counter Terrorist Unit, or CTU, particularly the CTU office in Los Angeles.  They handled terrorist threats—each season is one very long day of fighting the terrorists. . .

Emotionally, Jack is often closed off, and the emotions most commonly seen in him are anger, moodiness (a Byronic quality), and intensity.  However, his tenderness is evident many times in season one for his wife, for his daughter in seasons one through three, for his girlfriend, Audrey Raines, in season four, and many other women throughout the series. 

In regard to Jack's love of music and poetry, we never see any indication of those feelings in the show, but on the 24 website, backgrounds are given for all the major characters.  It is interesting to note Jack's undergraduate degree: a BA in English Literature.  There is not any reason for this in terms of the show—he is never required draw on his knowledge of literature—this fact is simply offered to make him more sensitive and Byronic.

She also notes that Byronic heroes are given “superior capabilities” (par. 3), which is certainly true of Jack.  He is incredibly courageous, the most intelligent person on the show—he is always one step ahead of the rest, and fatally deft with any weapon.  He also meets a physical criteria that Stein points out: “The contemporary Byronic hero is almost always dressed in black” (par. 9). . .

PICS: http://coursesite.uhcl.edu/HSH/Whitec/LITR/5535/models/2005/projects/
rp05gooding.htm

CONCLUSION:

The Byronic Hero – or Heroine – is a remarkable character, evidenced by its prevalence and longevity in literary history over the past century and a half and even in pop culture today.  I was impressed at the evolution of the characters to so readily include women as Byronic Heroines.  Now that I can readily identify the characteristics of the Byronic Hero, I am certain I will find him or her throughout movies, television and literary works.