Is it really time for an illustrated, audio e-book of Don Juan? You bet! Here are three good reasons.
1. Illustrated versions are out of print
Byron’s epic comedy has never been out of print, but illustrated versions are hard to come by. My favourites are a 1927 edition illustrated in fabulous Deco style by John Austen (alas, out of print, but available from rare-book dealers), and; The Annotated Don Juan by Isaac Asimov (yes that Asimov) illustrated by Milton Glaser, one of the iconic U.S. illustrators of the 20th century (he created the I-heartf-NY logo) and designed by Alex Gotfryd. This too is out of print, although I bought myself a copy in great condition (inscribed by Glaser to his boss) a year or two back.
2. E-books are the best medium for illustration
There is no illustrated e-pub of Byron: that is, a digital book meant for reading as a book. That’s a great pity for two reasons. First, because Don Juan is — here and there, between Byronic digressions and sometimes inside them — a very visual poem. Canto One, especially, as a classic bedroom-farce has lots of potential. Second, books these days are relatively expensive to produce and distribute, especially when they contain high-quality colour illustrations (which adds to the weight, if only because of the paper required). E-books offer a much lower-cost, easily accessible medium that’s almost costless to disseminate even more widely than books and weighs nothing.
Better still, with LCD screens headed for print-like-resolution — the iPad 3 screen is almost 300 ppi and the MacBook laptop also now sports a “retina” screen — high quality illustration will soon be widely available. The lowest-cost e-readers are not there yet: Barnes’ and Noble’s Nook and the Amazon Kindle Fire offer only 170 pip for the present; about twice the resolution of the typical desktop screen. But the new Google Nexus 7 tablet has a lovely low-cost LCD at 216 ppi. That’s approaching a density where screen resolution pixilates only when you “zoom” the digital image.
3. E-books can read to you
The combination of text and it’s performance in the same publication is an intriguing option available only with e-books.
Poetry, whose sound is possibly still more important than its printed representation, is a perfect target for audio+text publication. When reading poetry for ourselves, we want to hear a poem spoken — and often ‘sub-vocalize’ when we don’t read out loud . But when read-to, we sometimes want to see the text, too, to help us follow more complex passages.
Will readers embrace a mixed-medium that includes the performance? That’s hard to say for sure.
(Pure) audio books are losing market share, probably because they remained trapped by the physical (CD) medium for far too long (like music CDs). The more rapid growth in sales of downloaded audio-books has not been enough to restore their former prominence despite the potential demand among e.g. commuters.
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But the audio-format for performance art, such as poetry, has strong appeal. What we hear pours into our imagination still more directly than what we read. I suspect that hearing the poem read will make it more fun for people who would not consider reading it for the first time but who might, on a second occasion, want to read it for themselves.
The audio e-book is a new concept in publishing. It became widely available only late last year when Apple’s iBooks first implement a version of “read-aloud” books, aimed at the children’s book market. The typical read-aloud book has an audio-track that reads the content of the book as the individual words are highlighted. Probably, the idea was to help new readers identify the words and to put words and sounds together.
Then, early in 2012, the International Digital Publishing Forum (IDPF) published the third industry-standard specifications for e-publications that encourages all publishers and device manufacturers to implement audio-enabled e-books in the same way (E-Pub 3.0). Now a growing list of device and software allows simultaneous text and audio including iBooks (Apple), Kobo (owned by Rakuten), Azardi (Infogrid Pacific) and Readium (an e-pub reader created by the IDPF itself for Google’s Chrome web-browser).
In every one of these environments you can choose to hear the book read-aloud or choose to turn off the audio and read for yourself. I hope readers will try both.
In the last post I briefly reviewed the only two commercial recordings of Byron’s Don Juan that I have been able to find. Neither was much to my taste, although I’d be interested to hear from anyone who has a kinder opinion.
There are a couple of non-commercial recordings that I’d like to recommend to you. I think each of them is better than Davidson or Bethune, although neither is complete.
The first is a recording made in (I’m guessing) the 1940’s by Tyrone Power. His voice has a lovely natural timbre; his projection is great (from low in the chest). He gets a lot of variation of intonation and pace and he speaks the poetry seriously, but with meaning, catching not only the rhythms but the rhyme that carries so much of the humour in Don Juan.
Of course, Power had the looks and the agility to be the Don Juan from Central Casting. His Mark of Zorro was the the second movie version of the Zorro tale — the first being the stylish Douglas Fairbanks’ 1920 version. But Power and Basil Rathbone made the franchise indelibly theirs. He was a very good actor with a naturally credible leading-male style and a fine expressive touch who was trapped for many years by 20th Century Fox in ‘swashbuckling’ roles. If you’ve never seen him in the last movie he completed — Billy Wilder’s 1957 movie of Agatha Christie’s Witness for the Prosecution with Marlene Deitrich and Charles Laughton — then you’ve missed one of the greatest movies of the 20th century. Alas, he died of a massive heart attack on the set of Solomon and Sheba (1958) in the midst of a duel with George Sanders.
I’m sorry that Power does not appear to have recorded all of even Canto One of Don Juan. But I offer below an excerpt from the recording available here (there seems to be a rip-off available on CD on Amazon, too). In the excerpt, Power is heard reading verses 138 to 142 of Canto One, at the point where Julia’s jealous husband, Alfonso, bursts into her bedroom in the middle of the night, looking for her lover (Juan, unknown to Alfonso).
The final recording I offer for your review is my own. I recorded this version in March, 2012, shortly before I first came across the Tyrone Power version. I’m delighted to find that my approach is not far from his. This is the recording that I’ll be issuing as part of the illustrated audio ebook to be real eased in the next few weeks. I’d love to know what you think.
I admit this is an eccentric project. Recording a very long poem from the early 19th century and presenting it in an illustrated e-book ‘wrapper’ may turn out to be a waste of effort. Who knows? Not me!
But I suspect there is a large number of people who have never been exposed to Byron’s clever, provocative romance and who are not likely to find out how much fun it is until they hear it. That’s what led me to record it in the first place and, so far there are going on 90,000 downloads of my recordings of Cantos One, Five and Thirteen-thru-Sixteen suggesting I was right.
I know of only two commercial “audio-book” recordings of Don Juan, both in the Audible library. In this post, I’ll review both of them. In my next post I’ll review a much better, but incomplete, (now) widely available recording from a great star of Hollywood’s Golden Era and submit my own recordings for your comparison.
The only two commercial recordings in the Audible library are:
- Don Juan narrated by Frederick Davidson ($25)
- The Poetry of Lord Byron: Volume XI narrated by Robert Bethune ($25)
Fred Davidson has great variation in pitch and manages female voices very well. He has good pacing and very clear diction. But I find his delivery mannered and “thespian.” To me, this makes Byron’s conversational tone of voice sound condescending and even ‘fey’ rather than confidential or sarcastic.
Davidson makes some strange choices in pronunciation, too, of which the worst is that he pronounces “Juan” as “huwan”… a compromise between the Spanish pronunciation and Byron’s jokey anglicising of the hero’s name. The result is a sound that isn’t right in Spanish (“h’wan”) or as an anglicised word (it must be pronounced “who won” for the rhyme to be accurate) and it ruins Byron’s joke.
But most irritating of all, in the Davison recording, he (or his producer) has decided that he should read everything on the page including the Stanza numbers! Good grief, we’re lucky he didn’t give us pages, too!
Of course, you should judge for yourself. Here’s a short sample of Davidson reading three verses, taken from the beginning of the Poem: the Dedication. You can find a longer sample at the links above.
Robert Bethune may be a Canadian. He has that attractive Canadian burr to his accent that I prefer to Frederick Davidson’s nasal English tone. But Bethune’s delivery is clipped; somehow slightly choked in his throat and he has a rhotacism (swallowing his ‘r’) that is sometimes noticeable. He sounds like he’s sitting at his desk leaning over the microphone.
Bethune’s pitch is not as varied, and his pacing not as sure as Davidson’s, with the result that he falls a bit too easily into a “poetic” intonation, singing the same pattern of tones throughout each verse. His pronunciation is not mannered like Davidson’s and he takes advantage of the conversational tone of the poem to allow each line and each stanza to “flow” into the next. But this also means he muffs some of the jokes that Byron often packs into the final rhyming-couplet punch line of his stanzas.
Again, you should listen for yourself. Here are three verses (28–30) from Canto IV: a longer excerpt can be found at the Audible link, above. I have not listened to much of Bethune’s recording but I’m a little surprised to find that this short selection contains an error: “dear” for “clear” in Stanza 30.
I would really like to hear your views of these recordings: especially if you disagree with me. What am I missing in the Davidson and Bethune recordings? If you love them (or even like them), why? Please let me know.
“I do not in any way affect to be squeamish – but the character of the Middling Class in the country – is certainly highly moral – and we should not offend them – as you curtail the number of your readers – and for the rest of the subject of Don Juan is an excellent one – and nothing can surpass the exquisite beauties scattered so lavishly through the first two Cantos.“
The estimable, but exquisitely squeamish, John Murray (his publisher) warning Byron of a likely harsh reaction from conservative taste, before he published the first two Cantos, anonymously, in 1819.
Newcomers to Byron’s poem are more likely to find it on the web than on a bookshelf. So their first surprise, often, is its length. Sixteen books (“Cantos”), 20,000 lines, 130 ‚000 words. It’s as long as a modern fantasy novel.
It can seem even longer because…well, a practiced reader finds it easy to scan whole pages of prose, paying as little or as much attention as needed. But it’s almost impossible to do that with poetry. The rhymes, the inversions, the shape of the verse slow us down and frequently demand at least an interior reader who speaks the words to us.
That’s as it should be, and the main reason why my forthcoming edition of Canto 1 of Don Juan will speak the words to the reader. The performance takes about an hour and forty-two minutes with another eight minutes (or so) for the Dedication that precedes the poem.
It’s great fun
But with Byron there’s a great reward in reading for sense rather than reading to finish. For one thing, he’s such fun. That’s usually the second surprise for newcomers. Byron’s attention wanders a good deal in Don Juan — that’s the spirit of the thing — but his writing is tight and his comic timing, like his metre, is impeccable. He’s serious, sometimes, but never solemn and has a punch-line in the final couplet of nearly every stanza.
It’s for grown-ups
This is not your old Aunt’s “poesie”. Byron has few qualms — pretended, maybe — about dissecting lust, infidelity, fantasy, blasphemy, the disappointments of faith and the betrayals of ‘tyranny’. There’s even some “dwarf tossing” in Canto Five! His themes are closer to those of his hero Horace, the free-wheeling, humane essayist of the early Roman empire, than the cerebral refinements of his contemporaries, the English Romantic poets. This may be the third surprise: Don Juan has the space, and Byron the inclination to discuss liberty, self-knowledge, the passions– sex, of course, but also power and wealth — happiness, the dialog of the sexes, growing old (or growing up, Byron scarcely did either) and the illusion of fame.
… And he does it in a conversational, half confessional, half ironic tone that is essentially modern.
A fourth surprise for many newcomers is that although the poem is nearly two centuries old, it is filled with modern ideas and attitudes. The tone is conversational and personal. Byron looks his readers in the eye, rather than address them from a pedestal. The language, here and there, carries an eighteenth century ring and his etiquette is not necessarily ours: “gay” means happy, even frothy; more gratingly, moneylenders are “jews”. He is skeptical of the claims of the Church (not religion), the servility of politics and overblown science. Although an aristocrat, and a bit of a snob, there’s nothing feudal or condescending about Byron. Personal liberty is probably his highest value and, like his near contemporary, Jane Austen, Byron makes women the strongest characters in his poem. His heroines have ideas, passions, ambition and a freedom of action that Austen’s women only dreamed of.
It’s highly quotable
What use is poetry, unless it’s memorable? Great poetry, like great painting or sculpture, changes our way of seeing things. Don Juan has done that — more than you realise until you read it. Here are a few snippets that you might recognize even if you have not read the Poem
Infidelity What men call gallantry, and gods adultery,
Is much more common where the climate’s sultry.
Fiction ’Tis strange, but true, for truth is always strange,
Stranger than fiction. (Yes… Don Juan is the origin of that, now trite, idea)
Hate Now Hatred is by far the longest pleasure;
Men love in haste, but they detest at leisure.
Life A little breath, love, wine, ambition, fame,
Fighting, devotion, dust – perhaps a name.
Men and women ‘Man’s love is of his life a thing apart,
’Tis woman’s whole existence.
It is astonishing to us, now, that the amusing, clever, mostly-light-hearted tales in Cantos I and II of Don Juan were condemned by the English establishment for blasphemy, depravity and inciting misbehaviour (among the lower classes). Byron protested, accurately, that his poem was innocent when measured by the standards of Classical Roman verse, or or Dante or even Milton.
But Byron knew well what he was up to — whom his satire would sting and whom it would please — and clearly delighted in it.
To appreciate the daring, as well as the fun, of Don Juan we must bear in mind the bitterly charged politics and near class-warfare that gripped England in the the year (1819) that the poem first appeared. The propertied classes — nobility, gentry, the army, church and parvenu industrialists — feared riot, revolt or even bloody revolution by workers and their radical allies of the constitutional Reform movement.
I could not tell the story of that year better than this excerpt from David Erdman’s 1944 talk “Byron and Revolt in England”
“In January the laborers of Manchester paraded with red flags surmounted by red caps of liberty. In February and March there were strikes (the word was new) of weavers and colliers, and a month-long hubbub in Westminster where a stormy bye- election was won by the pooling of Tory and Whig votes against a field of Radicals led by Byron’s associate Hobhouse; crowds in Covent Garden attacked the successful candidate shouting “Hobhouse for ever.”
In April the Quarterly [Review] came out with a tardy but copious denunciation of Shelley’s Revolt of Islam as a production of “that industrious knot of authors” whose work “loosened the hold of our protecting laws … and blasphemed our holy religion.”
In June the weavers were making wage demands again, and a wave of Reform meetings swept the counties, continuing in July to fill news- papers with accounts of banners, placards, and (at Rochdale, one of Lord Byron’s fiefs) female Reformers marching 5,000 strong. Reform was in their mouths, said Sidmouth, “but rebellion and revolution in their hearts.” That month the government arrested several “malicious, seditious, evil-minded persons,” including the editors of the [radical weekly newspaper] Black Dwarf and the Manchester Observer, as well as Major Cartwright, whose Radical Hampden Club Byron had joined in 1813.
[In July] John Murray, in spite of politics, published what another Tory called a diabolic burlesque poem “loosely written in every sense of the word called the Two First Cantos of Don Juan.” It appeared, because of politics, without the names of author or pub- lisher, but [radical publisher William] Hone soon “unmasked” “Don John (Murray),” and everybody knew it was Byron’s.
Bankruptcies and the distress of the laborers increased. In Keswick [Poet Laureate, Tory mouthpiece and Byron’s antagonist Robert] Southey heard the poor talk of “parceling out” estates. And then on the 16th of August 60,000 men and women “marched” to St. Peter’s Fields, near Manchester, where, said the government papers, they would have been incited to treason by the “democratical” Orator [Williamn] Hunt, but for the timely, if bloody, action of the magistrates, mostly clergymen, on whose orders Constables and Yeomanry dispersed the crowd with sabre and pistol, killing 11 and wounding 600.
Following [the] Peterloo [“Massacre”] the more extreme Radicals, [radical London publisher Richard] Cariile for instance in his new Republican, openly defied the government, urging huge protest meetings and calling upon the people to “arm against the coming evil,” boasting “we can beat off the combined Yeoman Cavalry of the whole country.”
In September the government was still finding signs of the coming “simultaneous insurrection,” especially in an ominous silence on the part of the Radicals. [Arthur Wellesley, Lord] Wellington sent “troops with cannon … into Cheshire, Lancashire, and Yorkshire.” The Duke of Hamilton reported that he had seen Radicals surveying his park. Lord Dudley, in a more inclusive view, saw “the whirlpool of democracy” swirling nearer. Alarm swept the Emergency session of Parliament that opened November 23rd, shortly following a panic among the moneyed men. The question was not whether Reformers were marching “in military array” but how many thousands? Bootle Wilbraham claimed to have seen pistols and pikes and the plans of the poor to divide the land “by force.”
In October hundreds of pulpits rejoiced over the defeat of “Satan and Carlile” when the latter was convicted of selling the “Theological Works” of [the author of the “Rights of Man”] Tom Paine.
[In November, William] Cobbett’s recent return from America -“to die for Reform,” wrote one Radical- had been followed by an ominous reconciliation of the Radical factions. Alarming enough to Tories and Conservative Whigs was the appearance, within Parliament itself, of two new Radical members: Douglas Kinnaird and John Cam Hobhouse, bosom friends of Byron [since their days as students in Cambridge], who was known to have joined their “Radical Rota Club” in absentia.™ … [In the debate on the trial of the Peterloo demonstrators] Hobhouse spoke so very much like an inciter to rebellion that the House, in mounting hysteria, voted him to a cell in Newgate jail.”
Byron includes once piece of “product placement” in Canto 1 of Don Juan; a mocking encomium to Rowland’s “Incomparable” Macassar oil whose superior qualities alone could match those of Donna Inez.
“In virtues nothing earthly could surpass her,
Save thine ‘incomparable oil’, Macassar.”
The joke worked so well because the Alexander Rowlands, father and son, were incessant puff-merchants for their own products — which included Essence of Tyre (for dyeing grey or red hair a dark auburn color) and Alsana Extract (for “eradicating disorders of the teeth”) — frequently the form of verse advertisements in the Gazettes. The following indicative extract is taken from Rowlands Jnr.‘s A Practical and Philosophical Treatise on the Human Hair, published in 1814
In antient times a flow of Hair,
Reclining on the shoulders bare,
Was view’d a mark of beauty’s pride,
A fact which n’er can be deny’d
Proof that “advertising works” may, in fact, be the lasting legacy of The Incomparable Macassar Oil, for it became a wildly fasionable treatment for baldness — or maybe wig-hair — among the trivial, newly-wealthy, fasionable (middle) classes of Regency England, as John Rowlindson’s cartoon suggests.
Curiously, Byron’s backhanded “compliment” to the product was not the end of the joke. The Rowlands returned the “compliment” in an advertisement among the back-papers of the Tenth (monthly) installment of Charles Dickens’ The Pickwick Papers published on a freezing, snowbound last-day of December of 1836 (London roads were impassable, snow lay at a depth of 5–15 feet in places with drifts up to 20ft).
The full-page advertisement, reproduced below, purported to be “missing verses” from Don Juan, further detailing Inez’ use of Rowlands’ products for the hair and teeth in a hacker’s version of ottava rima but, naturally, without the satire that enlivened Byron’s reference to the products.
You can find a full account of the influence the advertisement may have had on an episode in the twelfth instalment of The Pickwick Papers here
Although a prodigy, sexually promiscuous, and pugnacious, Byron was a poetic genius who worked his gifts and himself hard. Before his early death, at age 36, he had conquered peaks of literature and renown that contemporaries who lived to twice his years viewed only on the horizon.
Byron’s character was formed by strong, conflicting currents; his turbulent childhood, his precocious wit, his sudden accession to wealth (or at least, its expectation), his startling good looks and his always-present-never-mentioned lameness.
After his drunken, gold-bricking, father had deserted them, George Gordon’s mother sometimes smothered her son with affection and generosity but, at other times, with rage and abuse. His scottish nurse, May Grey, terrorised her young charge with superstitious Calvanist tales of damnation and (according to Byron) beat him savagely before climbing into the bed to interfere with him sexually. The boy suffered physical assault too, for his lameness — not a “club foot” but a congenital dysplasia (withering) of the right calf and a foot that twisted inward — that a series of medical quacks tortured with useless “correcting” devices.
When eventually he was sent to a formal school (Harrow), he was treated kindly and even deferentially by the Masters. But Byron was a lazy student, reckless and disruptive. Although fiercely intelligent, and sporting — he was a great swimmer and despite his lameness played cricket for the school in the 1805 match against Eton — the school had to be dissuaded from sending him away in his final year for, among other misdeeds, composing a poem slandering the new headmaster.
It was only later, during his Cambridge years, that he showed he could settle into periods of steady, hard work, especially on poetry and drama that distracted him from feelings of guit and insecurity brought on by debt and sometimes mad indulgence.
Byron was sexually ‘ambidextrous’, taking both male and female lovers at university and later in a “gap year” spent in Greece (he was probably the victim, too, of a sexual assault by his noble tenant at Newstead Abbey, Lord Grey). Thanks, probably, to his Nurse’s abuse of the pre-teen Byron, was — as he acknowledged — sexually precocious. He was promiscuous, not predatory, but his attempts to manage his (unconscious?) need for both comfortable, unchallenging sexual intimacy and the thrill of illicit relations led to his social disgrace. Early in 1815 he married a woman he respected little and loved less chiefly to distract himself from a strong, mutual, intimate liaison with his pretty, adoring, older half-sister, Augusta Leigh. The marriage was a disaster, over shortly after the birth of his daughter, Ada, at the end of that same year.
For most of his life, Byron alternately over-indulged food and drink until he became fat and pudgy, then starved himself with bizarre diets or (after his first year at Cambridge) took up violent exercise with a pair of fashionable pugilists as personal trainers.
He hobbled when he walked or tried to run but he attempted to compensate his shame with feats of athletic bravado such as swimming the Hellespont, or along the Grand Canal at Venice. Or with feats of military adventure such as his final expedition to Greece where he funded a nationalist militia and died of disease (probably typhus) and barbarous medical treatment.
At Cambridge he became a religious sceptic. He was never openly agnostic but he valued science above religion where there was any conflict.
Troubled? Possibly. Neurotic? Of course; who would not be, saddled with his reputation, his belief in himself, his debts, his upbringing?
Dangerous? Chiefly to himself.