October4
Two books I selected from our shelves that contain typical Byronic heroes. Wondering how I linked these together?
You may not know what I’m talking about, but you know the type. That’s the thing with stereoypes, with heroes, with protagonists. We may not have a term for these things, but we all know the type.
The typical Byronic hero is idealised but flawed. Lord Byron, for whom the Byronic hero is named, was the first “modern-style” celebrity, and nowadays he’d be characterised in the media as a rock star. His ex-lover Lady Caroline Lamb famously described him as “mad, bad and dangerous to know”, and this is the essence of the Byronic hero.
The Byronic hero is intelligent, cunning, and maybe even criminal. Crucially these more negative characteristics are set off by something negative, perhaps a tendency toward introspection and moodiness, or a streak of cowardice (perhaps just realism) or narcissism. Consider Rhett Butler from Gone With The Wind. He is shunned by his family for being thrown out of West Point, yet is obviously well-educated. He has an adversarial relationship with many characters, and his insight into human nature prevents him from salvaging his love for Scarlett. Cue bitter tears.
The Byronic hero is also intelligent, astute and educated, yet he or she (usually he) struggles with integrity, often bucking convention and suffering for it. Byronic heroes are usually physically attractive and generally in love with someone, but (again, most importantly) often are burdened with a dark secret or source of guilt. Consider Stephen Dedalus from the works of James Joyce. Stephen is considered by his friend Buck Mulligan to be a great poet, but he cannot seem to relate to many people very well. He is extremely guilty over the fact that he could not pray for his mother as she lay on her death bed – his stubborn moral decisions about religion (among other things) prevented him from doing this).
The Byronic hero may be privileged (socially or in terms of money) but will show a disregard for social conventions and their own responsibilities.
The Byronic hero often has an understanding of his of her inner world, but may be overburdened thus. You’re beginning to see a pattern, right? You know a character like this.
To further explore this, I’ll first tell you about some boring literary stuff. Then we’ll talk about some real (fictional) Byronic heroes.
Scholars have traced the tradition of the Byronic hero from the works of John Milton. Milton published the twelve-book version of his epic poem Paradise Lost in 1674. It is heavily concerned with the conflict between God’s foresight and omnipotence and man’s free will.
It wasn’t until the American and French revolutions and the Romantic period that people really began to sympathise with Satanic characters. In 1819 Percy Shelley (a contemporary of Byron) put forth that Milton’s Satan was morally superior to the tyrranical God of the poem. Most crucially, he said that Satan’s greatness of character is flawed (again) by vengefulness and pride. Byron wrote a semi-autobiographical epic narrative poem from 1812 to 1818, called Childe Harold’s Pilgrimage. Many of the elements of the Byronic hero are in this: a world-weary character who searches for enlightenment in foreign lands.
That’s crucial to the characterisation of the Byronic hero. The Byronic hero is flawed, and the “but” in the character’s description is very important. Brilliant BUT self-destructive, moral BUT with a Dark Secret, full of integrity but dark and mysterious, etc etc. Consider Bruce Wayne of Batman.
A few more examples: Rochester in Jane Eyre is a typical Byronic hero. Heathcliff from Wuthering Heights is also a popular example (a larger than life dark-and-handsome romance who never wavers from his goal), as well as Dumas’ The Count of Monte Cristo. The heroes of many hard-boiled detective novels, as I discussed here, are similarly flawed. Sam Spade is a contemporary example of the Byronic hero, as is Philip Marlowe. You might also consider the titular Doctor House from the TV series House to be a similar hero — he’s brilliant but, as you probably would have guessed by now even if you don’t watch the show, Tragically Flawed in more ways than one. Gothic fiction was bursting with Byronic heroes, as are spaghetti Westerns such as The Good, The Bad And The Ugly. Consider also the Phantom of the Opera and the Vampire Lestat. The Modernist era also gave rise to a lot of Byronic heroes
Byronic heroes are a lot more interesting than your regular old white-knight hero, and there’s still usually an element of romance there… the carefully tousled hair, the enigmatic secrets, etc etc.
The Byronic hero fits into the larger genre of the antihero, which we might take a look at next time. The Byronic hero usually has an air of sweeping romance about him or her — their tragic flaws are never so tragic that you don’t adore the character eventually.
A very contemporary example is Edward Cullen from the Twilight series. And now I seem to have linked pop culture with high culture, and so I’ll finish there.
If you got the whole way through that — congratulations!
-Agnes
