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Given the context in Don Juan, the Gospel reference is evidently to the final verse <strong>of</strong>the story <strong>of</strong> the woman caught in adultery, John 8:1-11, wherein Jesus also famouslydeclares, “He that is without sin among you, let him first cast a stone at her” (verse 7).<strong>The</strong> poem preaches the message <strong>of</strong> the Gospel in this stanza, taking Jesus as themodel <strong>of</strong> Christian behaviour, whilst also presenting the practical social value <strong>of</strong> sucha system (12.79.630-1). <strong>The</strong> poet is not merely pointing out that the English arefailing, but is aligning himself with Jesus in the process. Notably, however, thisbiblical story has Jesus violating Mosaic Law by dispensing with the death penalty foradultery (Deuteronomy 22:22). It is an example <strong>of</strong> Jesus’ essentialising behaviour,taking mercy as an ideal and elevating it over justice, an ethic with which Byronappears to have sympathized.Don Juan is replete with biblical references, and, while this was common for theperiod, that custom is not satirized by the poem, even though Don Juan deliberatelyopposes customs regarding the moral propriety <strong>of</strong> its subject matter and expressions.Don Juan’s frequently-positive use <strong>of</strong> the Bible, and the absence <strong>of</strong> any negativevaluation <strong>of</strong> that text, makes contemporary and subsequent charges <strong>of</strong> blasphemyrather less secure, especially when the poem shades into an essentialising, idealisingmoral discourse.<strong>The</strong> Decalogue<strong>The</strong>re is a more complex borrowing from the Bible. At the time <strong>of</strong> its publication,one <strong>of</strong> the most heavily criticized passages in Don Juan was the set <strong>of</strong> poeticalcommandments, an imitation <strong>of</strong> the Ten Commandments, in stanzas 204-6 <strong>of</strong> Canto I.This is denounced by the Literary Gazette as “the most indefensible <strong>of</strong> these lapses[…] a pr<strong>of</strong>ane parody, in which some <strong>of</strong> our modern bards are roasted”, and theEuropean Magazine very similarly calls it an “unpardonable and pr<strong>of</strong>ane parody”. 207It is indeed pr<strong>of</strong>ane, at least in the sense <strong>of</strong> putting the form <strong>of</strong> the sacred to a nonsacreduse, but it is hardly unusual for the period, at least in private discourse. J CHobhouse, writing to Byron, says that, in “the unjust steward in the Gospels”, where207 Literary Gazette, July 17, 1819, 449-51; July 24, 1819, 470-3, RR, IV, 1406-12: p.450 (1407);European Magazine, LXXVI (July 1819) 53-56, RR, II, 965-8: p.54 (966).132

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