Byron as a Satirist:

Byron was one of the most vigorous and powerful satirists of England during the nineteenth century. His genius was essentially satirical. In satire Byron found the suitable media for his rebellious and passionate nature and it is in satire which turned more joyously from the early years of his life. He had a great liking for Alexander Pope, the prince of satirists in the 18th century and for Gifford, his successor. He closely imitated their form and style in his satires, and almost, all the satirical works of Byron were written under the influence of Pope, Gifford and Swift.

Byron's 'Don Juan' marks a recovery of his tradition in satire after a period of timid respectfulness. This means Byron uses to universalize his truth of 'Don Juan' extend not only, to the story, with its shifting scenes both within and outside example, but also to the form of his narrative and the literary genres which it draws together within its episodes. The early cantos of 'Don Juan' for instance can reconcile an overall framework of epic parody with the delicate lyricism of Juan and Haidie love affair on the island or the operatic imbroglio of his very first love affair with Donna Julia. In this united resemblance to Mozart's cherubino itself suffers a sea-change to be finally submerged in an enumble of farcical Rossinian clatter.

The English cantos of 'Don Juan' are rich in satirical relevance their literary echoes equally resonant. Even when the tone is at its lightest one finds that images or assertions work in two directions at once downwards towards their roots it a closely observed sociological study of society and its make up; upwards in a sparkle of literary associations and evocations which link Byron with the satire of his contemporaries.

The way in which Byron uses his pictures of European life and manners in the first half of Don Juan to cast ironic light on a whole complex of English evasions and hypocrisies (which he sums up by the single word 'cast') has been well discussed by his critics. But forced by the second half of the poem, in which Juan arrives in England to experience fashionable aristocratic life in London and the big country houses, most writers on Byron become hesitant. Partly this is due to the obvious difficulty that Byron starts a story of romantic intrigue moving, involving Juan's host less, the seemingly glacical (but in fact susceptible) Lady Adetine; the innocent delicate Aurora Raley; and the 'frolic' Duchess of Fitz- Fulke'. Just as events are growing serious with the appearance of 'her frolic race' in Juan's bed room, the spry breaks off. Byron departed from the Greek war of Independence and the poem was left incomplete. Yet each allowing for this disadvantage it seems strange that 'Don Juan', X to XIV has not around more enthusiasm.

Marriage without love is severely criticized by Byron. Society cannot resist the trends of the illicit love as well as it cannot endure it and so issues a code of crucifixion against them. But why should the tender wishes of these human beings be killed? Why should they be separated by the unwanted force of iron rod? Marriage is an institution legalized by religion and society, but what power does it have to bring about a mental strain completely unknown. Marriage without love may be supported by the society, not by conscious people as it opens ways of immoral illicit affair. This picture has been vividly depicted through the conjugal life of Don Alfanso and Donna Julia.

Byron's scope of satire sometimes crosses the circumscription of morality, as it is often alleged by virtuous critics. But C. N. Bowra associates against their verdict. He hoped that by telling the truth he would awake the world to the evils which delighted its happiness, and expose its respected social system a corrupt and corrupting shame.

Byron attacks not ideal but false and fake exercise of idealism. We must remember that he does not attack the sensibility but false sentiment, not morality but abuse in morality. He does it unhesitatingly and it seems Byron revolts against the moral faults of the current society.

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