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Lord Byron introduced readers to the Byronic hero in his poem Childe Harold's Pilgrimage. While Lord Byron first denied that Childe Harold was based on his persona, those who knew Byron easily recognized the similarities. To be able to see the characteristics of a Byronic hero in a poem or story one must know the Byronic characteristics. A Byronic hero is normally seen in a male Romantic character and made famous by Lord Byron, who often had similarities to the characters in his poems. This Byronic character will have a combination of many characteristics and is usually considered a rebel. The character is unusually handsome to both the male and female gender alike. He has been wounded or disabled in some way, for example, Lord Byron had a clubfoot. His passions run deep, encompassing sexual, emotional, and intellectual depths, which are superior to the common man. There is often a guilty secret for which the Byronic hero feels remorse for; this secret is often related to some unnamed sexual crime. Despite this remorse, he is usually unrepentant and rejects society's values. This rejection of society will leave the hero in an exileeither self-imposed or imposed upon him by societythus keeping him wrapped in a mysterious cloud of the unknown. All of these characteristics combine to create the Byronic hero who compels an attraction from his audience and leads us to wanting to know more about him, thus I will examine the first thirteen stanzas of Childe Harold's Pilgrimage and examine the Byronic characteristics as they appear in the poem.
In Canto The Third, the first stanza, the hero is saying good-bye to his daughter, whom he hopes to see again. The lines "And then we parted, not as now we part, / But with a hope. " shows the hero's exile, for he does not wish to leave his daughter (4-5). The reader is not sure if this exile is self-imposed or not as the hero leaves his daughter, but the line "When Albion's lessening shores could grieve or glad mine eye" shows that the exile is both self-imposed and imposed upon him by England (). Albion represents England who is both grieving and glad the hero is leaving, yet the "glad mine eye" can also represent the hero's joy of leaving a possible unaccommodating society.
In Stanza II, the exile can still be seen in "Still must I on; for I am as a weed" (16). The hero describes himself as a weed and a weed is an undesirable plant amidst beautiful flowers. Seeing himself as so different from others will also force the hero to stand on his own, thus isolating himself even more from society.
Part of his isolation is due to the fact the narrator sees himself as different, often being moody, mysterious, or hiding a dark secret. This is seen in Stanza III "The wandering outlaw of his own dark mind;" shows that the hero is aware of his difference but is unable to do anything about it (1). He is an "outlaw"unwantedin his own mind. He may be describing his mind as dark since he is hiding a sin related to some unnamed sexual crime.
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While the hero is isolated from society, he has had many "young days of passion" showing that people are drawn to him (8). Stanza IV continues by telling the reader that the hero has his "heart and harp have lost a string," and "sung to sing, " meaning he has had his share of lovelost and foundand it has all been passionate (, 1). But the hero is unrepentant "Of selfish grief or gladness" and is glad to have loved whenever he could (4).
The Byronic hero also offers no excuse for his intellectual capacity and feels that he is superior to the common man. This is seen in Stanza VI where he states "'Tis to create, and in creating live / A being more intense, that we endow / With form our fancy" (46-48). He believes that what he creates will live on with out him when he says, "What am I? Nothing but not so art thou, / Soul of my thought! With whom I traverse earth" (50-51). He knows that his writings have a merit of their own and his name is second hand to the work.
Stanza VII brings the reader back to his life of passion. In "My springs of life were poison'd," the Byronic hero possibly laments the memory of an unnamed sexual crime or wrong which could have been done to or by him (60). Yet he is still unrepentant when he states "And feed on bitter fruits without accusing Fate" (6). Our hero is dealing with the hand that fate has given him without seeking forgiveness or giving forgiveness.
This deep secret leads the narrator to brooding in Stanza VIII. The hero has been "Wrung with the wounds which kill not, but ne'er heal" (68). His wound is his dark secret and while he does not blame Fate, his wounds will never heal. Depending on the local gossip, this brooding could make our hero a figure of repulsion or of fascination.
This brooding once again brings the reader back to our hero's unnamed sin in Stanza IX. "Still round him clung invisibly a chain / Which gall'd for ever, fettering though unseen, / And heavy though it clank'd not; worn with pain" shows the extreme guilt our hero feels for this unmentionable sin (77-7). This guilt or unrepentance effects everything our hero does and touches. Yet his day-to-day life is even better than the common man's life because he is experiencing passion, even if it is of the negative kind.
In Stanza X, our hero remains aloof from society. He is "Secure in guarded coldness" and kept an "invulnerable mind" from society (8, 85). He is self-reliant and has no need to depend on a society who doesn't want him. But the Byronic hero does not mind because he prefers his status as a rebel because of the freedom it allows him. He is free to wander as he wishes.
Yet our hero reminisces a little about the past and maybe feels a little remorse in Stanza XI. "Yet with a nobler aim than in his youth's fond prime" shows our hero wanting to live a nobler life than he had in his youth (). While he is not really remorseful, he is aware that he has not lived an ideal life. Yet, at the same time he is still the arrogant man who knows he is "once more within the vortex," and is capable of handling it (7). He would rather live a life with remorse and fame (maybe infamy) than not to have experienced the passion, which brought him that remorse.
For the Byronic hero knows "himself the most unfit / Of men to herd with man; with whom he held / Little in common;" and Stanza XII shows us a man who knows he is better than the common man and will not hesitate to tell society (100-10). Our hero is also still a rebel despite his foolish youth. "He would not yield dominion of his mind / To spirits against whom his own rebell'd;" shows that he will not bend to society's whims, but will stand on his own (105-106).
The hero who has little in common with society will find himself exiled from the same society. In Stanza XIII our hero is left free to wander. This can be seen in the line "He had the passion and the power to roam" (11). Our hero prefers to wander and to find passion wherever is journeys may take him.
The Byronic hero in Childe Harold's Pilgrimage is a character that shows many of the Byronic traits. Our hero is a male and a rebel. His passions run deep, encompassing sexual, emotional, and intellectual depths, which are superior to the common man. There is the appearance of guilt for a secret, likely some unnamed sexual crime. Despite this remorse, he is usually unrepentant and rejects society's values. This rejection of society leads our hero into exileboth self-imposed and imposed uponthus keeping him wrapped in a mysterious cloud of the unknown. All of these characteristics combine to create the Byronic hero who compels an attraction from his audience and leads us to want to read more about him, thus helping him traverse the earth.
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