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Lord Byron's Seduction of Gender in "The Corsair", "Lara", and "Don Juan"

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The University of Southern Mississippi The Aquila Digital Community Dissertations Fall 12-2010 "I Unsex'd My Dress": Lord Byron's Seduction of Gender in "The Corsair", "Lara", and "Don Juan" Alexis Spiceland Lee University of Southern Mississippi Follow this and additional works at: https://aquila.usm.edu/dissertations Part of the Feminist, Gender, and Sexuality Studies Commons, and the Literature in English, British Isles Commons Recommended Citation Lee, Alexis Spiceland, ""I Unsex'd My Dress": Lord Byron's Seduction of Gender in "The Corsair", "Lara", and "Don Juan"" (2010). Dissertations. 668. https://aquila.usm.edu/dissertations/668 This Dissertation is brought to you for free and open access by The Aquila Digital Community. It has been accepted for inclusion in Dissertations by an authorized administrator of The Aquila Digital Community. For more information, please contact [email protected]. The University of Southern Mississippi “I UNSEX’D MY DRESS”: LORD BYRON’S SEDUCTION OF GENDER IN THE CORSAIR, LARA, AND DON JUAN by Alexis Spiceland Lee Abstract of a Dissertation Submitted to the Graduate School of The University of Southern Mississippi in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy December 2010 ABSTRACT “I UNSEX’D MY DRESS”: LORD BYRON’S SEDUCTION OF GENDER IN THE CORSAIR, LARA, AND DON JUAN by Alexis Spiceland Lee December 2010 The goal of this project is to posit a theory of how Byron’s texts, specifically through the development of his hero, construct gender and sexuality as styles of seduction that resist easy classification by binary systems. I propose that Byron’s works characterize gender through ironic performances of seduction that, because they reveal that binary structures lack a stable core, dissolve systemic differentiation and thus fatally complicate any attempt to force the individual into rigid categories of gender or sexual identity. Byron’s works deploy seduction as a tactic of ironic representation of both gender and sexual practice that is necessarily multiplicitous and diffuse. Byron develops his hero throughout his canon through the hero’s interaction with himself and with others whom the hero is reflected by and in turn reflects. The texts The Corsair, Lara, and Don Juan have been chosen as they contain representative examples of the Byronic Hero figure as well as illustrate major developments in the hero’s progress toward a vision of gender and sexual orientation free of recuperation by social and cultural systems of proscription. ii COPYRIGHT BY ALEXIS SPICELAND LEE 2010 The University of Southern Mississippi “I UNSEX’D MY DRESS”: LORD BYRON’S SEDUCTION OF GENDER IN THE CORSAIR, LARA, AND DON JUAN by Alexis Spiceland Lee A Dissertation Submitted to the Graduate School of The University of Southern Mississippi in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy Approved: Kenneth V. Watson Director Jonathan Barron Luis Iglesias Nicolle Jordan Michael Mays Susan A. Siltanen Dean of the Graduate School December 2010 DEDICATION For my mother, this albatross. iii ACKNOWLEDGMENTS I would like to express my sincerest gratitude to my dissertation director, Dr. Kenneth Watson, for his support, encouragement, critique, and patience throughout this long process. Without his guidance, this project would not have been possible. I would also like to thank my other committee members, Dr. Jonathan Barron, Dr. Molly Clark Hillard, Dr. Luis Iglesias, Dr. Nicolle Jordan, and Dr. Michael Mays for their invaluable assistance. Many thanks to Dr. Ellen Weinauer, former Director of Graduate Studies, for her effort and assistance. Although she is no longer an active member of this committee, my deepest regard and thanks go to Dr. Anne Wallace, whose praise I have constantly sought to gain and upon whose judgment I have relied throughout my doctoral work. I must also thank my parents, Dr. Robert and Gail Lee, for unwavering love and support in all my endeavors and for instilling in me a love of nineteenth century literature. Special thanks go to Christopher Reese for his sympathetic ear, critical tongue, and huge heart. Without his commiseration and insight, as well as his tireless perusal of unreadable drafts, I would still be on page one. Thanks also go to Tracy Buie and DeLisa Wagner for their help with editing and proofreading. Finally, I must thank Paul Morris for his love, companionship, support, and devotion. He has been and continues to be my inspiration, and, to paraphrase Milton, has lent his aid to my adventurous song. What in me is dark, he has illumined; what is low, he has raised and supported. And if I fail to shine or soar, blame the writer, not the muse. iv TABLE OF CONTENTS ABSTRACT .......................................................................................................................ii DEDICATION ...................................................................................................................iii ACKNOWLEDGMENTS .................................................................................................iv CHAPTER I. BYRON’S IRONIC HERO ........................................................................1 Seductions Active and Passive Libertinage Clothes (Un)make the Man: The Byronic Hero in Drag Having It Both Ways: Bisexuality II. BYRONIC BISEXUAL SEDUCTION: A THEORETICAL APPROACH TO BYRON’S HERO .........................................................23 III. SEDUCTIVE SYMPATHY AND SEXUAL DIFFERENCE IN BYRON’S THE CORSAIR AND LARA ...................................................71 IV. “CONFUSION OF THE SORTS AND SEXES”: DON JUAN DRAGGED OUT ......................................................................................94 V. DANDIES AND DEVILS OF THE HOUSE: BEYOND BYRON ...................................................................................................144 WORKS CITED .............................................................................................................165 v 1 CHAPTER I BYRON’S IRONIC HERO The goal of this project is to posit a theory of how Byron’s texts, specifically through the development of his hero, construct gender and sexuality as styles of seduction that resist the colonizing of the individual by ideological systems. I propose that Byron’s works characterize gender through ironic performances of seduction that, because they reveal that binary structures lack a stable core, dissolve systemic differentiation and thus fatally complicate any attempt to force the individual into rigid categories of gender or sexual identity. With profound debt to the theories of Jean Baurillard’s seduction, Judith Butler’s gender performativity, Gilles Deleuze’s irony and sadomasochism, as well as the contemporary critical debates surrounding libertinage and bisexuality, I argue that Byron’s works deploy seduction as a tactic of ironic representation of both gender and sexual practice that is necessarily multiplicitous and diffuse. Byron develops his hero throughout his canon through the hero’s interaction with himself and with others whom the hero is reflected by and in turn reflects. Analysis of Byron’s entire canon is beyond the scope of this project, so the texts The Corsair, Lara, and Don Juan have been chosen as they contain representative examples of the Byronic Hero figure as well as illustrate major developments in the hero’s progress toward a vision of gender and sexual orientation free of recuperation by social and cultural systems of proscription. In The Corsair and Lara, the Byronic Hero encounters the female version of himself. These poems emphasize the centrality of Humean sympathy between the genders as a means of destabilizing the absolutism of the gender binary. Conrad and Lara, the protagonists of 2 these poems, are revealed to be the same character, and the hero’s female counterpart in The Corsair, Gulnare, is revealed in Lara to be Gulnare in male drag. Byron combines the tropes of drag and the traditional tragic heterosexual love story ironically to call attention to the similarity of these characters’ genders and to underscore the slippage between subject and object positions and sexed bodies in a traditional heterosexual seduction. Finally, in Don Juan, Byron’s hero seduces globally. Don Juan, the famous libertine seducer of women, becomes himself both the seducer and the seduced. Through deployment of drag, libertine seduction, and Byronic mobility, the libertine masculine body is revealed to be completely fragmented, and his gender and sexual identity diffuse. In each text, Byron’s constructions of his hero’s identity splinter and proliferate, revealing that there is no stable core at the center of gender, sexuality, or even the sexed body. This project takes as its study the works of George Gordon, Lord Byron, one of the most canonical of all canonical writers. In doing so, I attempt to follow the example of Eve Kosofsky Sedgwick by undertaking an exploration of gender and sexuality constructions within the ouvre of a central but pivotal figure of early nineteenth century literature and culture in an attempt to foreground a theory of gender and sexuality both in the past and in the present, and to suggest possible application for future studies. Byron’s status and centrality as a poet and as a cultural icon afford those who study his works an opportunity rarely available to scholars: with Byron, one has one’s finger directly on the pulse of both the everyday and the avant-garde, of the rebel and the aristocrat. There
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