THE HEROINES OF DON JUAN
THE HEROINES OF DON JUAN
Para “Srikandi” dalam Don Juan
Nita Novianti
Departemen Pendidikan Bahasa Inggris, Fakultas Pendidikan Bahasa dan Seni, Universitas Pendidikan Indonesia, Jalan Dr. Setiabudhi No. 229, Bandung, Indonesia Telp. 022-‐2002443, Pos-‐el: [email protected]
(Makalah Diterima Tanggal 5 Mei 2015—Direvisi Tanggal 25 Oktober 2015—Disetujui Tanggal 29 November 2015)
Abstrak: Meskipun terdapat banyak karakter perempuan yang berperan penting dalam kehidup-‐ an karakter utama Don Juan karya Byron, tetap saja yang selama ini menjadi pusat perhatian pa-‐ ra kritikus sastra adalah karakter utamanya, yaitu Don Juan. Oleh karena itu, penelitian ini akan fokus pada karakter-‐karakter perempuan dalam Don Juan karya Byron dan mengungkap bagai-‐ mana femininitas dan seksualitas mereka direpresentasikan. Ditemukan bahwa meskipun ada sub-‐ versi dan penentangan terhadap konvensi femininitas dan seksualitas perempuan, seperti yang di-‐ tunjukkan oleh kekuatan seksual Gulbeyaz dan beberapa karakter perempuan lainnya, justru sub-‐ versi dan penentangan serta ketidakmampuan mereka menahan seksualitasnya yang membawa karakter-‐karakter perempuan ini pada kesengsaraan. Sementara itu, karakter perempuan yang berhasil menahan seksualitasnya hidupnya berakhir bahagia, atau setidaknya bisa bertahan hi-‐ dup.
Kata-‐Kata Kunci: Don Juan, feminitas, karakter perempuan, seksualitas
Abstract: In spite of the large number of female characters who play the major part in the life of the main character in Byron’s Don Juan, it is still the main character himself, Don Juan, who has garnered great attention from the critics. Hence, the present research will focus on the female characters of Byron’s Don Juan and reveal how their sexuality and femininity are represented. It is found that while there is subversion and challenging of femininity and sexuality, such as female un-‐ usual sexual prowess exhibited by Gulbeyaz and some other female characters, it is precisely the challenging of feminine conventions and the inability to suppress their sexuality that lead the fe-‐ male characters to their doom. Meanwhile, the female characters who successfully suppress their sexuality have better ending, or at least, manage to survive.
INTRODUCTION
characteristics of Don Juan might be one Don Juan has engraved his name in the
of the reasons why Lord Byron created a repertoire of famous literary characters
poem with that particular character that and remained to popularly refer to a
stands to the test of time. flamboyant man with irresistible sexual
In the beginning of Don Juan, Byron appeal for the female counterpart. A sex
mentions that he wants a hero that does symbol that represents power, Don Juan
not have to be a new character, since has come to be regarded as the powerful
new characters are born “every year and and domineering male figure who
month” (1.1.2). This want of a hero that conquers many women’s hearts,
Byron himself deems unusual is fulfilled rendering them submissive and
by his choice of Don Juan, a character powerless in his hands. The peculiar
that has even become a popular term to
ATAVISME, Vol. 18, No. 2, Edisi Desember 2015: 221—231
refer to a peculiar male character with researching Byron’s Don Juan and sexual prowess. However, as the story
comparing its hero to Byron’s other unfolds, it is clear that Byron actually
share identifiable invents
heroes
that
characteristics that make them earn the characterizations to this old character.
moniker of Byronic heroes. Don Juan’s In their introduction to Don Juan,
distinctive character, not only being Wolfson and Manning (2006:728)
distinct from the “original” Don Juan but identify Byron’s Don Juan as a character
also from the typical Byronic hero— that “belies the legacy of his name,
namely the character being seduced, seduced more often than seducing,
passive, and rather feminine—has kindhearted rather than ruthless and
garnered attention and been analyzed in conniving”. In a similar note, Husika
in-‐depth studies. However, the female (2011:440) contends, “Don Juan as a
characters in Don Juan, who contribute hero, is a subverted one, neither manly
influence to the nor heroic, but naive and seduced
significant
characterization of Don Juan, in which instead, very often displaying the
they are more active than passive in characteristic usually associated with the
seducing and pursuing Juan, and some of feminine gender”. Stillinger and Lynch
them are even more powerful than Don (2006:669), therefore, define Byron’s
Juan and other male characters, have not Don Juan as an “archetypal lady-‐killer of
garnered similar interest. European legend [that] is in fact more
Hull (1978:71), for instance, attests acted upon than active”. The passivity
to this lack of discussion on Byron’s and borderline femininity of Don Juan
female characters, stating that “the has, in fact, been recognized by a wide
Byronic heroine has not received the array of critics. He does not actively
primary attention which she deserves”. pursue his life, career, and love; instead,
This lack of attention may be due to the his life is decided by the people around
fact that unlike the Byronic heroes that him, especially by women.
“remain fairly consistent in outline, Indeed, the unique characteristics of
Byron’s female characters range from Byron’s Don Juan, especially his
the eroticized passive victim of passivity, have drawn significant
patriarchal force to the masculinized attention. Byron’s Don Juan is not only
woman warrior, from the romantic different from the original Don Juan but
heroine of sentiment to the sexually also from other Byronic heroes. Dennis
voracious virago or the chaste (2007:2), for example, is one of the many
republican matron, and so the list go on” critics who regard Don Juan as Byron’s
(Franklin, 1992:1). Therefore, even the hero that ironizes both “the Byronic
term Byronic heroine is refutable since Hero and his victimary tactics”. Peacocke
there is no consistency in the (2010) more explicitly declares that
characterization compared to that of the “Juan does not qualify as a traditional
Byronic hero. The inconsistency of Byronic hero” (n.p.). Peacocke further
Byron’s depiction of women is apparent explains that Don Juan was written when
in Don Juan. Over the thirteen female Byron’s popularity was declining. The
characters portrayed, starting from expiring fame may partly justify Byron’s
Donna Inez, Donna Julia, Haidee, experiment with a new character that is
Gulbeyaz, Lolah, Katinka, Dudu, Mother so unlike the typical Byronic hero.
of the Maids, Catherine, Leila, Lady Many critics such as cited above
Adeline Amundeville, the Duchess of have indeed been passionate in further
Fitz-‐Fulke, and finally, Aurora Raby,
The Heroines of Don Juan ... (Nita Novianti)
none of them
it is the norm that women will see characteristics. Nonetheless, most of
shares
similar
themselves as being feminine and try to them do end up in misery because of
meet the society’s expectations of what their inability to control their sexuality.
being feminine entails. In addition, In fact, Don Juan demonstrates that
femininity comes from within the women who actively pursue their sexual
individual herself, but is shaped by the satisfaction will be unlikely to succeed in
external (society’s) norms. their lives compared to those who are
The same is true for sexuality. It able to suppress their sexuality.
shares with femininity the boundaries of Thus, this paper will focus on the
culture and the dynamics of times, female characters and show how many
making definitions seem to be a futile of them are represented as powerful and
effort. Nevertheless, there is a general able to challenge the conventions of
understanding of how to define femininity, yet doomed in tragic ending
sexuality, as explained by Paludi because of their inability to control their
(2010:82), who defines sexuality as “a sexual urge and prowess. Before further
personal psychological, emotional, and discussing the analysis of the female
physical experience, but how women characters, definitions of femininity and
learn about, understand, and approach sexuality in general will be provided,
their sexuality cannot be separated from followed by a glimpse of society’s
the larger sociocultural context of their definitions and Romantic writers’ view
lives”.
of femininity and sexuality in the Paludi’s explanations clearly show Romantic period, and a review of current
how femininity and sexuality are two research on Byron’s heroines, especially
interrelated terms. They are both shaped ones in Don Juan.
by the society’s norms, rules, and expectations, but at the same time they
THEORY
are very personal, as the experience is
Femininity and Sexuality
more psychological, emotional, and Femininity and sexuality are two
physical, than social. Nevertheless, as she concepts that are dynamic and fluid.
asserts above, sexuality is also very They are bound to change according to
social. The society determines, shapes, the times. In addition, they vary from
and regulates women’s sexuality. As a one culture to another. To start with,
result, sexuality most of the time is an femininity is frequently defined in
expression of women’s struggle against opposition to masculinity. More
gender inequality and oppression. specifically, it refers to the extent women
What is more important to discuss believe in what constitutes or what it
from the above definitions and means to be a woman. It is based more
explanations is the fact that femininity on gender than sex. In addition, it is the
and sexuality are fluid. They constantly society who determines what being male
change according to the dynamics of or female entails and how women
social life. On the one hand, society plays should define themselves as feminine
the major role of shaping and defining (Stets & Burke, 2010:997). femininity and sexuality. On the other
From the above definition, it is clear hand, women as individuals experience that femininity (and masculinity) defines
their femininity and sexuality as and is defined by one’s gender identity. It
personal, psychological, and emotional is not determined by one’s biological
experience. This interplay between identity or sex. In a heterosexual society,
femininity and sexuality at the individual
ATAVISME, Vol. 18, No. 2, Edisi Desember 2015: 221—231
and social levels will prompt women to period defines femininity as being negotiate their femininity and sexuality.
delicate, weak, and submissive. This Some women will conform to the
reveals the society’s society’s rules of what entails being
definition
expectations and norms regarding feminine and how to practice women’s
femininity during the Romantic period. sexuality. Some will negotiate their
As femininity is intertwined with individual wants and desires with those
sexuality, they are both subject to of the society. Some other will radically
society’s rules and norms: “Female challenge society’s rules and definitions
sexuality in the Romantic period was a of femininity and sexuality in the form of
significant source of interest and anxiety subversion that can be read as an
. . . Sexuality was not in these days an attempt of liberating or fighting against
easy thing to talk about: the same injustice.
associated with the Victorian period was Due to the dynamic and broad
perhaps even stronger in the Romantic nature of femininity and sexuality and
period” (Denlinger and Wagner, 2010: considering the focus of this study on the
62—65). The interest and anxiety over particular work of Lord Byron, it is
sexuality is also a major concern shared important to limit the discussion on
by Romantic writers. femininity and sexuality to how they
To start with, Romantic writers were generally perceived and defined in
were quite well-‐versed in the topic of the Romantic Period, ultimately by the
sexuality. Sha (2001:1) attests to the Romantic writers.
Romantic writers’ rich reading resources on sexuality. Defining sexuality as “a
Sexuality and Femininity in the
term that refers to a quasi-‐medical
discourse that encompasses both one's Similar to the general definition of
Romantic Period
sexed being and sexual desire,” he femininity, which is often placed in
mentions that authors such as Byron, opposition to masculinity, the Romantic
Coleridge, Percy Shelley, Mary Shelley, writers commonly distinguish femininity
Blake, and Keats were far better read in as opposed to masculinity, often
medical context (ibid: 2). The rich implicitly, favoring the latter over the
repertoire of these Romantic writers’ former. As Murray (2013:405—406)
reading on sexuality to some extent observes, masculinity is sublimity, which
indicates that their writing will show means that femininity is the opposite of
consciousness of sexuality, either in the it. The binary opposition of masculinity
medical or social context. and femininity in the Romantic period
This allegation is strengthened by entails the opposition between sublime
Roy Porter’s report (as cited in Purinton, (sublimity)
2008:4) that “sexuality was pervasive domesticity, in which the Romantic
and
beauty
and/or
during the eighteenth century, and by writers put a great emphasis on the
the Romantic period, the public was former and implicitly undermine the
fascinated with sexual anatomy, with latter.
reproduction, with erotic experience, In addition, Murray (2013:405)
and with the nature of masculinity and contends that the antithesis of sublimity
femininity.” The last topic in the list, is “beauty, a quality defined in terms of
namely a question of masculinity and delicacy, weakness, and submissiveness,
femininity, is particularly prevalent in explicitly feminized”. In other words, it
Romantic writing, either by female or can be observed that the Romantic
male writers.
The Heroines of Don Juan ... (Nita Novianti)
Shelley’s Frankenstein is one that has often been regarded as a work that ultimately questions sexuality as well as femininity. Hale (2002:18), for instance, argues that “the threat posed by the monster [Frankenstein] is perceived . . . as a sexual one”, while Knudsen (2012:23) argues that the very act of writing Frankenstein itself is an act of defying society’s norms of femininity, basing her argument on the fact that at that time, “Women were (considered) less suitable and less feminine if they wrote”. These arguments are apt, considering the fact that at that time writing was a male-‐dominated world, and women who would like to be writers mostly decided to have male pseudonyms in order to be accepted in the industry.
A concern with femininity and sexuality is not only expressed by female writers, such as Marry Shelley, but also by the male writers. Lord Byron stands as a great example of male Romantic writers who often write about sexuality. In fact, Byron’s personal life is full of experiment with sexuality, where he was known to have relationships with both men and women. Thus, in Byron’s work, one will find “the combination of the poet’s own open sexuality and the sexual issues” (Lofdahl, 2005: 7). In this particular context, it is precisely the topic of sexuality, especially as related to masculinity and femininity, which is omnipresent in Byron’s Don Juan. Hence, the next section will discuss research on the issue of sexuality and femininity in Don Juan.
Previous Research on Byron’s Female Heroines
The previous discussion has shown how Byronic heroines have not enjoyed similar attention as Byronic heroes. Nevertheless, it does not necessarily mean that studies on Byron’s female
characters are scarce. It will be relevant for the aim of this research to particularly shed some light on studies of Byron’s female characters.
To start with, quite a few scholars of Byron’s works seem to be in agreement that through the characterization of his female characters, Byron’s poetry challenges the traditional conventions of femininity. Bridgwood (2010: 496), for instance, is of the opinion that Byron’s poetry in general is an attempt of subverting male dominating power through the questioning and challenging of the codes and conventions of femininity.
Bridgwood’s research, though, is not solely focused on the female characters in Don Juan.
Some examples of research particularly focusing on the female
characters in Don Juan are works by LaChance (1997), Liou and Chien (2005), and Husika (2011). LaChance (1997) does a Christian reading of Don Juan, ultimately the depiction of its female characters, whereas Liou and Chien (2005) essentially defend Byron’s morality in his poems, regardless of the supposedly “immoral” life that he led in real life. Meanwhile, Husika (2011:438) shares a similar focus with Bridgwood, in which she believes that as the epic itself is a subverted form of the “conventional” epic, there is also “subversion of gender which is incorporated into genre subversion,” where “Byron masterfully painted the game of power and subverted socially constructed and acknowledged gender roles”.
Husika
exemplifies this subversion by delineating on the case of Gulbeyaz the Sultana whose sexual power and prowess enables her to make Don Juan her slave.
The existing literature shows that either the studies of female characters of Byron’s poetry tend to highlight the general depiction of female characters
ATAVISME, Vol. 18, No. 2, Edisi Desember 2015: 221—231
throughout Byron’s works, or the ones whether there are genders other than focusing on Don Juan that contains a
feminine and masculine, and whether large number of female characters only
the work seems to accept, question, or discuss some of the female characters
reject the traditional view of gender. cursorily in order to support a more
In answering the question, the next general idea of femininity and sexuality.
step in this research was finding Hence, the present research will
evidences from the text that reveal how elaborate the depictions of all female
the characters’ femininity and sexuality characters involved in Don Juan’s love
have been defined. This step was life, focusing on their femininity and
followed by interpretation of the sexuality. Before proceeding to the
characters’ femininity and sexuality and findings and discussion, the method
the work’s (author’s) attitude toward adopted in this research will be
this representation. In order to see elaborated in the following section.
whether the portrayed femininity and sexuality conform to or reject the
METHOD
traditional view of gender, biographies The research was ultimately conducted
and historical events that shape the by closely reading and analyzing the
social, cultural and political climate in primary source, namely Don Juan by
which Byron wrote, especially those Lord Byron, and adopting feminist
pertain to femininity and sexuality, were literary criticism in the reading and
used as the basis for the analysis and interpretation.
interpretation. Findings were further criticism, Tyson (2006:83) argues,
Feminist
literary
supported with a number of critical “examines the ways in which literature
essays on sexuality and femininity in the (and other cultural productions)
Romantic period in general and in reinforces or undermines the economic,
literary works more specifically as well political, social, and psychological
as critical essays on Byron’s works. oppression of women”. More specifically, this research focuses on how gender
RESULT AND DISCUSSION
plays a significant role in defining There are a large number of women femininity (and thus masculinity) in a
involved in Don Juan’s life, as the main society. As Tyson points out, one of the
character himself is a legendary concerns of women and gender studies
womanizer. To start with, there is Donna is “the relationship between sexuality
Inez, followed by Donna Julia, Haidee, and gender”; therefore, this study
Gulbeyaz, Lolah, Katinka, Dudu, Mother specifically addresses the interplay
of the Maids, Catherine, Leila, Lady between femininity and sexuality in
Adeline Amundeville, the Duchess of Byron’s Don Juan.
Fitz-‐Fulke, and finally, Aurora Raby. To conduct feminist literary
Despite the differences in terms of class, criticism on Don Juan, the research
race, and pretty much in many aspects, departed from one of the questions
these female characters share with each Tyson (2006:119) has formulated,
other an influence on and active namely how is the work “gendered”. In
engagement with Don Juan’s life. These other words, the question itself can be
women actively act on Juan’s life. When explained to how it seems to define
Don Juan is caught cheating with Donna femininity and masculinity, identifying
Julia, it is her mother Donna Inez who the characters’ behavior conforming to
decides that he is to be sent on a long their assigned genders, explaining
journey. Even though both Donna Julia
The Heroines of Don Juan ... (Nita Novianti)
and Don Juan are cast off from the patriarch ends Haidee’s romance with society because of the adultery they
Don Juan: “Lambro returns as if in commit, Donna Julia is doomed to
response to the poet’s call, to restore seclusion and celibacy, while Don Juan is
masculine discipline . . . Haidee’s ‘rule’ ready for another adventure in life and
merely marked the absence of rule” love. In other words, Juan moves on with
(Franklin, 1992:142). Haidee’s sexual his life, while Julia’s life is over, as
freedom takes its toll mostly on Haidee; demonstrated by her letter:
her father separates both of them by sending Juan into a ship and secluding
‘You will proceed in beauty, and in
Haidee until death approaches her.
pride
Haidee ends her life in a tragic death,
Beloved and loving many; all is o’er
while Juan is ready for another
For me on earth, except some years to
adventure, this time in the Seraglio
hide
Palace.
My shame and sorrow deep in my
Sold as a slave in the Turkish slave
heart’s core. (1.196.2-‐4)
market, Don Juan charms Gulbeyaz with
her juvenile appeal. Brought into the Julia’s inability to stay faithful to her
harem of Seraglio and forced to take a husband and to suppress her sexual
desire towards Don Juan eventually disguise as one of the odalisques, Don Juan is now under the full control of the
ruins her life; there is no future for her. On the other hand, Don Juan’s
Gulbeyaz. Nevertheless, Gulbeyaz’s power cannot force Don Juan
Sultana
adventure with women continues on. This time, nature plays its role: the ship
to requite her love. With rage and jealousy, after knowing that Don Juan
on which Juan embarks on his spends the night with her odalisque,
supposedly long journey sinks, and he Gulbeyaz commands her eunuch to
has to face the threat of death on a murder Don Juan and the odalisque by
floating boat without enough food and drowning them. Wolfson (1987)
water and with hungry passengers on it. suggests that the presence of Juan in
Eventually, he becomes the only survivor disguise as an odalisque in the harem
who succeeds to find a land and is saved can be interpreted as demonstrating a
by Haidee, “The greatest heiress of the male superiority in a place dominated by
Eastern Isles / Besides, so very beautiful women. In fact, Juan in disguise is
was she / Her dowry was as nothing to “beautiful exceedingly” (6.36.3), that he
her smiles” (2.128.2-‐4). Haidee is one of can be more attractive than Gulbeyaz
the most discussed heroines in Byron’s work. According to Franklin (1992:134),
herself.
“what happens in the Haidee’s episode is Saved from one empress, Don Juan is taken by another empress, Chaterine.
that we are first presented with Byron’s Different from his reaction to Gulbeyaz,
outright celebration of the liberated Juan’s love with Catherine is that of a
female libido”. In the absence of the mutual one: “Her Majesty looked down,
patriarch, Haidee saves Juan’s life, the Youth looked up / And so they fell in
indulges in a passionate relationship love” (9.67.1-‐2). Diakonova (1972:55)
with him, and loses her chastity. argues that the reason why Byron
Although Haidee is described as a free requites Catherine’s love is because “in
woman, her freedom is only comparable Byron’s eyes Catherine was an autocrat
to that of “a married woman” (2.175.6) par excellence, a personification of
and is guaranteed by the absence of her arbitrary and absolute power”. What
patriarch father. The return of the
ATAVISME, Vol. 18, No. 2, Edisi Desember 2015: 221—231
Catherine contributes to Don Juan’s next matched with them / The rudest brute stage of life is her command for Juan to
that roams Siberia’s wild” (8.92.1-‐3). go on a mission to England. Thus, she
Leila turns out to be a strong girl. She makes it possible for Juan to adventure
manages to maintain her faith, although in another country.
Juan asks her to convert. Gulbeyaz and Catherine are both
Aurora Raby is another exception powerful female figures who can easily
who stands as a stark contrast to other control Don Juan’s life according to their
female characters. With her, it is not wish. However, their authority does not
even clear whether the attraction is help them win Don Juan’s heart.
mutual, but Don Juan clearly is attracted Gulbeyaz, in particular, is bitterly
to her. Most of the time, she shows her rejected by Juan. Diakonova offers an
“indifference,” a word that Byron uses a explanation: “His rejection of Gulbeyaz is
couple of times every time he describes an assertion of his own dignity,” while
her reaction to the people around her. As with Catherine “he is flattered by the
a firm Catholic believer, Aurora Raby empress’s
successfully suppresses her sexuality. Nevertheless, eventually Juan leaves
approval”
She is described as “a Rose with all its Catherine because of his health. Both
sweetest leaves yet folded” (15.43.8). Gulbeyaz and Catherine show that their
Aurora shares several characteristics sexuality can render them powerless.
with Leila: they are both orphans and Gulbeyaz in particular hurts her pride as
young; they do not actively pursue Juan,
a sultana after being rejected by Don yet they have a huge influence on him. Juan who does not want to “[s]erve a
Clancy (1979:29) confidently opines that sultana’s sensual phantasy” (5.126.8).
“Aurora is not merely a Byronic hero in Even Catherine’s mutual love with Don
feminine form; she is a more complex, Juan only accentuates her tyrannical
multi-‐dimensional comic creation”. It is power.
Aurora’s indifference and coldness that Up until this point, Juan’s attraction
captivates Juan, who compares her to with most of the women he meets is
Haidee:
either mutual or one-‐sided for the women part. However, not all female
Juan knew nought of such a character—
characters in Don Juan end their life
High, yet resembling not his lost
tragically because of their inability to
Haidee;
suppress their sexuality. Leila and
Yet each was radiant in her proper
Aurora Raby prove that their suppressed
sphere: The Island girl, bred up by the lone sea,
sexuality prevent them from facing a
More warm, as lovely, and not less
tragic end. Being a child, Leila is neither
sincere,
sexually attractive for Don Juan nor is
Was Nature’s all: Aurora could not be
sexually attracted by him, which makes
Nor would be thus;-‐-‐the difference in
her dispensable from Don Juan’s
them
adventure with women. Interestingly, it
Was such as lies between a flower and
is her powerlessness in the mid of a
gem. (15.58.1-‐8)
bloody war that motivates Don Juan to finally take an initiative rather than
Some critics, such as Franklin, often following other’s commands. Heroically,
compare Haidee and Aurora. Don Juan Don Juan saves Leila from “Two
himself compares the two: both of them villainous Cossaques [that] pursued the
are equally young and attractive; child / With flashing eyes and weapons:
however, the former is sexually free,
The Heroines of Don Juan ... (Nita Novianti)
while the other chooses to be sexually proved by their challenging of feminine repressed.
conventions and their venture to the Aurora’s indifference is also in total
realm of sexual wilderness, it is also clear opposition to Adeline’s character, who is
that their challenging and destruction of described as “not indifferent” (13.35.1).
feminine conventions are precisely the Adeline actively persuades Don Juan to
source of their doom. marry for fear “that Juan was unlikely to
To start with, Donna Julia suffers a resist” (14.60.4) ladies’ charms; in this
celibate life with no future after getting particular case, she refers to the Duchess
involved with Don Juan in a sexual of Fitz-‐Fulke. Juan does not disagree
adventure, where she clearly cheats on with the idea; however, he picks Aurora
her husband. Haidee also has to suffer a whom Adeline despises: “She marvell’d
tragic end of her life because of her ‘what he saw in such a baby / As that
inability to maintain her chastity. Similar prim, silent, cold Aurora Raby?”
tragic endings are suffered by other (15.49.7-‐8). Adeline has to acknowledge
female characters who pursue their that Aurora’s coldness, in fact, is the fatal
sexual desire and break the conventions, attraction for Don Juan. Meanwhile, the
such as Gulbeyaz, Chaterine, and the like. Duchess of Fitz-‐Fulke manipulates Juan’s
Meanwhile, those who go with the fear of the ghost for her own sake.
conventions and manage to save their Dressed as the ghost, she approaches
chastity or suppress their sexuality, such Don Juan who eventually discovers her
as Leila and Aurora Raby have better disguise. Since the story stops at this
endings.
moment, it is not clear whether the Duchess will actively pursue Don Juan
CONCLUSION
despite her marriage status. Readers are While the findings conform to the also left wondering what will happen to
arguments put forward by most critics of Don Juan and Aurora Raby.
Don Juan, in which Byron has indeed In these examples, Byron clearly
subverted the concepts of femininity and shows that women who cannot repress
sexuality, it is argued that the subversion their sexuality will be unlikely to survive
has proved to end in irony. All the or succeed. Many of these women do end
supposedly “powerful” women in the in despair: Julia in seclusion, Haidee in a
poem end up being conquered and miserable death, and Gulbeyaz and
rendered powerless by their own Adeline in their unrequited love. Byron
disability in keeping their sexuality makes it more conspicuous by his
repressed. On the other hand, the depiction of Aurora Raby, a Catholic
women with the power to repress their English lady, who shows her indifference
sexuality have been shown to likely to the world, manages to suppress her
succeed or survive in their respective sexuality, and survives.
societies. This finding can be translated On the other hand, many critics hail
into twofold interpretations, first is the Don Juan as a work that successfully
acknowledged defeat of Byron who subverts female sexuality and feminine
cannot successfully subvert the social conventions (Husika, 2011; Bridgwood,
conventions of gender in his time, and 2010). Bridgwood (2010:503) in
second, that Byron’s attribution of particular argues that although it is
powerful women as having the sexual inarguably agreeable that many of the
prowess and “wildness” is too shallow, female characters in Don Juan are
as powerful women can also be those destroyers of cultural conventions, as
who are able to resist the temptation of
ATAVISME, Vol. 18, No. 2, Edisi Desember 2015: 221—231
“winning attractive men”, which also Frankenstein.” The UCI Under-‐ means to be a man’s subject, like Aurora
graduate Research Journal, 11—12. does. As Moss (1980:91) argues, “[T]he
Hull, Gloria T. 1978. “The Byronic Don Juan aspects of the romantic hero
Heroine and Byron’s The Corsair.” also challenge the heroine's urge to
Ariel, 9, 71—83. possession. The fallen angel wishes to be
Husika, Esma. 2011. “Genre and Gender the successful rival of her sisters, to be
as Byronic Subversions in Don Juan” the one woman to possess the eternal
1 st International Conference on seducer, to incorporate him in herself,
Foreign Language Teaching and and to satisfy his passion as no other
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