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The second chapter considers Don Juan. Although this is the most famous of Byron’sworks, and the most popular with modern critics, it says comparatively little aboutreligion, utilising considerably less religious imagery than CHP. Nonetheless, it isstill Byron’s longest work, and so its length bears a number of representations ofreligion which need to be treated in some depth. Like CHP, it is meditative in form,and displays a particularly rhetorical turn which is significant. It also most clearlydemonstrates a late movement in the poet’s own religious position.Byron’s representations of Islam are the particular subject of the third chapter, on theEastern Tales. This sets it apart from all of the others, and the Tales’ representation ofIslam is noticeably different from their representation of Christianity in a way whichhas implications for the views of Christianity elsewhere in the poet’s work. Thischapter also includes the consideration of the Byronic Hero character, and theinteractions of this figure with religion.Manfred receives its own short chapter, as the link between the Byronic Hero and themetaphysical dramas. It also deals with magic, an activity related to, but not exactlypart of, religion, and thus presents something of an exterior perspective on religiousissues.The final chapter focuses upon the biblical dramas, Cain and Heaven and Earth. Thischapter tackles ideas of orthodoxy much more directly than do the others, which tendto be more focussed, as their texts are, upon orthopraxy. This is the most radicalsection of the thesis, as its analysis demonstrates significant aspects of these twodramas which have received scant consideration in previous scholarship, and so itpresents a reading diametrically opposed to the most common views of these works.These ten poems are the texts most central to representations of religion in Byron’swork, and the limited scope allowed for such a project regrettably meant that aconsiderable number of his works could only receive limited attention here. Mostnoticeably, this includes the whole set of historical dramas: Parisina, The Prisoner ofChillon (more precisely a dramatic monologue), Mazeppa, Marino Faliero,Sardanapalus, The Two Foscari, and The Island.20