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Conclusion
The analysis in this paper reveals the innovative nature of Byron's poem. The combination of revolutionary pathos, lyrical sincerity and caustic Byron's sarcasm determines the unique originality of the poem. Byron casts his anger not only at the hideous moral traits of the ruling classes, but also at religious, poetic, ethical, aesthetic and political norms.
The language of Byron's last great work, the poem Don Juan,
in essence, deeply democratic, he fights for trampled human rights, for freedom of thought and feeling. The poem is distinguished by the richness of expressive means, the decisiveness of stylistic and linguistic innovation. Widely using colloquial expressions, rich idioms of the English language, numerous linguistic metaphors, folk proverbs and sayings, Byron expands the scope of the accepted poetic speech with an abundant inclusion of everyday vocabulary - in an unexpected and original combination with words borrowed from the field of philosophy, politics, economics, finance, psychology , mythology and even physics
As it was in Byron's dramas, so in Don Juan, a new, more objective assessment of modern man is achieved by the fact that his personality is correlated with truly historical material, today and distant from the present day for decades or centuries. To understand reality is to see it in development - a conclusion that crowns the path of romantic thought and leads beyond romanticism.
Combining the traditions of the enlightenment novel and satire, enriched by the perception of the comic epic of the Renaissance with new, realistic aspirations, Don Juan remains, nevertheless, a romantic work. The universalism of the poem speaks about romanticism - that is, the immensity of scale, the correlation of private lives with the fate of the universe, and both together - with their own inharmonious inner world. Romantic and maximalistic exactingness to reality, and the universality of denial, and the feeling of catastrophic historical development, and angry despair, and skeptical mockery of the collapse of lofty educational ideals. Romanticism in the poem is both individualism, and lyricism, and the anti-rationalism of the attitude and style that have been embodied in it. The realistic elements of Don Juan help to comprehend the realistic basis of Byron's classicist principles. But realism, as already noted, manifests itself in his poem only as a tendency growing in a work that is essentially romantic.
How seriously Byron evaluated the social meaning of his work is evident from the way he fought for the text of Don Juan, undistorted by the "accursed Puritan council". He wrote to his publisher Merey: “if you publish a poem, print it in its entirety”; he claimed that it was "the most moral of the poems"; he categorically objected to the reduction of the poem, to the transformation of its songs into "wind chants"; he believed that the poem is needed "at the moment of the current clash between thought and tyranny," he declared: "the day will come when" Joao "will be preferred over everything that I wrote earlier."
It is not surprising that the poet's most perceptive of the reactionary critics, even during his lifetime, clearly realized the danger of Don Juan's merry songs. Of the thirty-two reviews of Don Juan that appeared in 1819-1823, twenty-one were openly hostile, nine were half-condescending, half-reproachful, and only two were restrainedly praiseworthy, and here, too, one can hear the blame for immorality that destroys faith in virtue. In the rest of the reviews, attacks on Byron for insulting women's honor and defending debauchery go hand in hand with accusations of blasphemy, blasphemy and treason to the monarch.
After the publication of Don Juan, such a phenomenon as Byronism appears in the world. "Byronism" not only as a way of literary writing, but as a way of life. There were many adherents of this trend in Russia. One of its ardent representatives was A.S. Pushkin.
For example, Pushkin's instructions about the connection between Eugene Onegin and Don Juan create the appearance of a change in the author's orientation. In a letter to PA Vyazemsky dated November 4, 1823, Pushkin reported that he was writing "a novel in verse <...> in the genus of Don Juan", which he did not hope to ever publish, meaning censorship; in a draft letter to A. A. Bestuzhev dated 8 Feb. 1824 it was said that the new "poem" "was written in stanzas almost more freely than" Don Juan ›", and fears about the impossibility of its publication were repeated.
According to Gorky's apt remark, Byron's "negative attitude towards life gives a positive result, instilling a consciousness of beauty, strength and fearlessness of the human mind."
Byron's work was aimed at creating a work of the broadest scale and significance. Playing with concepts and ideas, philosophical and artistic values of the past and present, Byron introduces them into the everyday life of the reading public and at the same time teaches a skeptical attitude towards the authority of traditions, fosters complete independence of thought.
Shelley understood the meaning of the poem well. He assured that in her “there is not a single a word, the destruction of which even the most severe defender of human dignity could wish ... every word bears the stamp of immortality. " He saw a great merit in the fact that Byron showed in all its true ugliness all the worst sides of human nature.
Shelley wrote: "Nothing like this has yet been written in English."
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