byronic heroes

The Byronic hero is an idealised but flawed character exemplified in the life and writings of Lord Byron, characterised by his ex-lover Lady Caroline Lamb (who said it before becoming Byron's lover) as being "mad, bad, and dangerous to know".[1] The Byronic hero first appears in Byron's semi-autobiographical epic narrative poem Childe Harold's Pilgrimage (1812-1818).

Characteristics
The Byronic hero typically exhibits several of the following traits:a strong sense of arrogance high level of intelligence and perception cunning and able to adapt suffering from an unnamed crime a troubled past sophisticated and educated self-critical and introspective mysterious, magnetic and charismatic struggling with integrity power of seduction and sexual attraction social and sexual dominance emotional conflicts, bipolar tendencies, or moodiness[citation needed] a distaste for social institutions and norms being an exile, an outcast, or an outlaw "dark" attributes not normally associated with a hero[citation needed] disrespect of rank and privilege jaded, world-weary cynicism self-destructive behaviour

[edit] History
After Childe Harold's Pilgrimage, the Byronic hero made an appearance in many of Byron's other works, including his series of poems on Oriental themes: The Giaour (1813), The Corsair (1814) and Lara (1814); and his closet play Manfred (1817).

Byron's influence was manifested by many authors and artists of the Romantic movement and by writers of Gothic fiction during the 19th century. Lord Byron was the model for the title character of Glenarvon (1816) by Byron's erstwhile lover Lady Caroline Lamb and for Lord Ruthven in The Vampyre (1819) by Byron's personal physician, Polidori. Captain Wentworth in Persuasion by Jane Austen (1818), Claude Frollo from Victor Hugo's The Hunchback of Notre Dame (1831), Heathcliff from Emily Bront?'s Wuthering Heights, Edmond Dantes from Alexandre Dumas' The Count of Monte Cristo (1844) [2], (1847), Rochester from Charlotte Bront?'s Jane Eyre (1847), Dorian Gray from The Picture of Dorian Gray (1890) by Oscar Wilde, and James Steerforth from Charles Dickens's David Copperfield (1849-1850) are other later 19th-century examples of Byronic heroes.

Scholars have also drawn parallels between the Byronic hero and the solipsist heroes of Russian literature. In particular, Alexander Pushkin's famed character Eugene Onegin echoes many of the attributes seen in Childe Harold's Pilgrimage, particularly, Onegin's solitary brooding and disrespect for traditional privilege. The first stages of Pushkin's poetic novel Eugene Onegin appeared twelve years after Byron's Childe Harold's Pilgrimage, and Byron was of obvious influence (Vladimir Nabokov argued in his Commentary to Eugene Onegin that Pushkin had read Byron during his years in exile just prior to composing Eugene Onegin). The same character themes continued to influence Russian literature, particularly after Mikhail Lermontov invigorated the Byronic hero thro

ugh the character Pechorin in his 1839 novel A Hero of Our Time.

The Byronic hero is also featured in many contemporary novels, and it is clear that Lord Byron's work continues to influence modern literature as the precursor of a commonly encountered type of anti-hero. The lead character, Stephen Dedalus, of James Joyce's A Portrait of the Artist as a Young Man (1914–1916) is one of the most famous literary heroes of this genre.[citation needed] Erik, the Phantom from Gaston Leroux's Phantom of the Opera (1909–1910) is another well-known example from the early twentieth century.