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: Development of the line of the protagonist in the poem "Don Juan".
"I WANT a hero" - such a confession opens the poem; recognition, uniqueness, the novelty of which the author feels and is recognized in this. Once upon a time, Byron did not lack heroes, but, apparently, now he is occupied with a new hero, unlike the previous ones.
Don Juan Byron is not yet a ready, developed person, but in the process of becoming, which immediately makes you remember about an educational novel. The connection with the previous century is all the more pertinent because the time of the action, which ends during the French Revolution, is timed to it. The poems by Giovanni Batista Casti played an important role. According to an addiction to wordplay, deliberately high ridiculous comparisons, which are sharply opposed by the prosaic
At least, and this is the second difference between Byron's interpretation of Don Juan's character, the hero is least of all similar to the one who can weave a cunning intrigue, arrange insidious nets. He is straightforward, sincere. These natural traits in him could not be drowned out by upbringing, carried out according to a strict system, on which Don Juan's mother, dona Ines, put a lot of effort.
And in the character of Don Juan, nature prevails over the educational system. João does not know how to resist passions. He feels their attraction most of all and invariably follows it, without recalling either school lessons or life lessons, although these latter were very cruel for him. A night escape and a scandal - the end of his first romance, with Donna Julia, followed by a forced voyage into a shipwreck with the danger of being eaten (like his spaniel and teacher) by gnawed companions. Then, as if a happy salvation and a new love - the beautiful Gaide, but here the ending is even more sad: the badly wounded Juan is sold into slavery, and Gaide dies from separation from him.
The culprit of Gaide's death is her father, the pirate Lambro, who was considered dead and caught the lovers by surprise with his return. And the fact that Lambro is a pirate reminds of the former heroes of "oriental stories" and emphasizes the difference in their interpretation of a similar nature: nothing romantic remains in him, and cruelty and cold calculation take the place of nobility in the soul of a robber.
In Don Juan, it is soon discovered that the more the events themselves suggest traditionally romantic decisions, the more openly the author rejects them. Byron himself said that the purpose of the poem was to expose the "tinsel of feelings", the very feelings, by singing which he won the pan-European glory of a romantic. That which seemed significant and high is now debunked, reduced, appears devoid of its sham greatness. The poem contains touching pages dedicated, say, to the love of João and Gaide, but they also turn out to be only an episode, drowning in the general atmosphere of an ironic narrative that now convinces us not of the tragic power of the only, eternal love, but that that the sincerity of the first natural feeling
fades, is exchanged in a kaleidoscope of amorous accidents. And if for Gaide, such an outcome meant at the same time the end of life, for João it became the beginning of a new life - the life of a person who quickly comprehends the science of indifference and easy victories.
The wave of circumstances that picked up Juan continues to carry him, throwing him into the harem of the Turkish pasha, into the Suvorov camp near Ishmael, to the court of the Russian empress and, finally, to England, where he finds himself in the X song and where he remains until the action ends at XVII. In contrast to the thesis of the philosophers of the 18th century (Shaftesbury, Rousseau) about the immutability of a good beginning in the human soul, Byron draws a hero who, under the influence of circumstances, acquires, along with life experience, a kind of cynical wisdom.
As Byron shows, Don Juan is on the right path to success, not guided by any certain selfish intentions or any calculations. He simply, without reasoning, follows his instinct, and not a reasoning instinct tells him not to reject the seductive life blessings provided to him (João showed firmness only once, when he, humiliated by his position as a slave dressed in a female attire and still grieving over his lost love, refuses from the proposals of the sultana, and so asserts his dignity) . . Byron D.G. Don-Juan / translated from English by Gnedich T., M .: Eksmo 2006
A participant and witness to so many events, Don Juan, it seems, cannot but change. However, Byron, in any case, does not insist on the inner evolution of the hero, for he retains the illusion of an epic genre, where psychologism is inappropriate, where the hero presents a once and for all opportunity to assess events from a constant angle of view. In this case - from the point of view of the "simple-minded", as has often happened in educational literature. However, now the innocence of the hero is fully compensated by the insight and sophistication of the author. And no matter how changed we perceive. Don Juan, the circumstances of his life, commented by the author, allow us to understand how the character of a modern person was formed, by what historical experience. resolved mechanically and inconsistently - too impetuous, for example, Juan's transition from the state of innocent immediacy in the first songs to the sophistication of the Russian nobleman. Very quickly it becomes “a very polished Russian” [X, 21]. The dialectical relationship between the personality and the environment, the inner world and the outer, is outlined, but not disclosed. Byron did not decide, but, undoubtedly, set himself such a task - as can be seen from the famous letter to Merey, in which he writes that “he would like to portray his hero“ cavalier servente ”in Italy, the culprit of the divorce in England, sentimental, in the spirit of Werther, in Germany, to show the mixed sides of society in all these countries and finally to depict how he has grown with age…. Gradually becomes "gâté" and "blasé".
João's days, according to Byron's plan, had to end during the French Revolution, like Anarcharsis Cloots, an active participant in revolutionary events, who was guillotined by Robespierre in 1794. And no matter how changed we perceive. Don Juan, the circumstances of his life, commented by the author, allow us to understand how the character of a modern person was formed, by what historical experience
Oblomievsky D.D. Moliere // History of World Literature: In 9 volumes / Academy of Sciences of the USSR; Institute of World Literature them. A. M. Gorky. - M .: Nauka, 1983— ... T. 4. - 1987. S. 146—152.. Byron D.G. Don-Juan / translated from English by Gnedich T., M .: Eksmo 2006
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