Canto IV in the can

Leon Gerome's painting of the Capture of Blackbeard (not much like Juan's voyage with  the pirates)
Leon Gerome’s painting of the Capture of Blackbeard (not much like Juan’s voyage with the pirates)

Who knew? I had the time suddenly, and the opportunity. So into my ‘studio’, a few practice runs — helped by the recent (laborious) work on Canto III — and the violent, sad, quirky conclusion of the Juan-Haidée episode is done!

Canto IV was written at the same time as Canto III: they’re one story. It was split into two. Byron says (in Canto III) ‘for money’. But that’s a fib. He offered John Murray, his publisher, both Cantos for the price of one. Murray was, as ever, squeamish about both.

Number Four is the terrible tale of the inevitable end of the Juan-Haidee romance; his injury, capture and transport into Slavery at the hand of her father, the Pirate Lambro. Her desolation at the loss of Juan and her hopes; her death (and the death of another); the decline and disappearance, with Haidée, of all her father had built.

Juan, wounded and (alas!) incapacitated by his grief over the loss of Haidée, is chained to a beautiful female slave on board the slavers’ ship. His companions in the hold are a traveling Italian opera company whose impresario has sold them into slavery. He gets all the goss on the sexual jealousies, character faults and stage weaknesses of the troupe from the ‘buffo’ of the party. But they arrive, pretty quickly at the warves below the Seraglio of Constantinople and disembark for the slave mart, to learn their fates.

Now… on to Canto V (that link to Peter Gallaghers recording of Don Juan Canto V, once — a few years ago — for Librivox).

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Byron fan (not fanatic); poetry lover (not tragic); doctor of melancholia (not gloom).