{"_buckets": {"deposit": "6f83e3e3-dcdc-4802-afe3-6d5aa967bc47"}, "_deposit": {"id": "27874", "owners": [], "pid": {"revision_id": 0, "type": "depid", "value": "27874"}, "status": "published"}, "_oai": {"id": "oai:nagoya.repo.nii.ac.jp:00027874"}, "item_9_alternative_title_19": {"attribute_name": "\u305d\u306e\u4ed6\u306e\u8a00\u8a9e\u306e\u30bf\u30a4\u30c8\u30eb", "attribute_value_mlt": [{"subitem_alternative_title": "The Transformation of the Byronic Hero : On the Three Forms of Its Narrative"}]}, "item_9_biblio_info_6": {"attribute_name": "\u66f8\u8a8c\u60c5\u5831", "attribute_value_mlt": [{"bibliographicIssueDates": {"bibliographicIssueDate": "1992-10-31", "bibliographicIssueDateType": "Issued"}, "bibliographicPageEnd": "64", "bibliographicPageStart": "43", "bibliographicVolumeNumber": "25", "bibliographic_titles": [{"bibliographic_title": "IVY"}]}]}, "item_9_description_4": {"attribute_name": "\u6284\u9332", "attribute_value_mlt": [{"subitem_description": "This paper deals with how the Byronic Hero has changed in the poet\u2019s literary career and the corresponding variation of his forms of narrative. I have tried to connect the hero\u2019s characterization to Byron\u0027s other figures in his plays and Don Juan (1819-24). The works discussed are (1) The Corsair (1814) and Lara (1814) written after Byron\u2019s return to England from his grand tour, (2) Werner (1822) and The Two Foscari (1821) written during his stay in Italy, and (3) the several cantos of Don Juan.  The incipient form of the Byronic Hero was always associated with the image of Byron himself. The production of the hero follows the course whereby Byron narrates his images in his Eastern Tales and the reading public regards the several features of the protagonists as Byron\u2019s own. Consequently, the Byronic Hero is not created by Byron specifically but by the reading public in the Romantic age.  The outstanding features of the Byronic Hero are paradoxically contradictory ones: the devotion to the revolutionary movements and the innately aristocratic status. These contrasting elements contribute to the vanishing of the hero. For when we read The Corsair and Lara, we see the revolutionary aspiration increasing rapidly. This change weakens the image of Byron himself at that time famous in the fashionable world in London. His love for reform is connected to his longing for Paradise which I will discuss later in the paper. However, we must admit that his revolutionism is always haunted by a conservative and suspecting attitude to idealism. The psychological sway between the two poles-his will to change the status quo and his essentially aristocratic posture-puts a great influence on Don Juan. After the breakup of the Byronic Hero, the features of it are attached to the characters in his plays. In the case of Werner, Ulric takes over the attitude of revolutionism and Stralenheim represents aristocratic conservatism. Werner is a figure vacillating between both ends. As for The Two Foscari the mentality of Francis, the Doge of Venice, is divided between the love for Jacopo, his son, and the duty of his high post. Jacopo is imprisoned as a traitor to Venice, but he truly loves his homeland. He has lost the hope to restore the order of the city. Marina, his wife, is the sole figure opposing the corrupt aristocracy. Jacopo can only aspire to a visionary Paradise in his dungeon. This posture to impose an idealistic vision over the fallen state of the world is developed in Don Juan. In this period of play-writing, many characters signify Byron\u2019s own different voices. That is, Byron is revealing his inner talk in such plays.  The narrative in Don Juan develops in a huge spiral form. The narrator is obsessed with the discrepancy between the ideal aspect of the world and its actual degenerate state. Together with the ever-changing targets and quality of Byron\u2019s satire and the chronological development of the plot, Don Juan gives us the sense that we are approaching but always deviating from the ideal vision of the world. We can also state that Juan functions as the poet\u2019s mask. Always entrusting himself to this mask, Byron attained the ideal linguistic machinery to continue his satiric narrative.  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