Gender and Virtue

Byron's confluence of gender with virtue creates an interesting characterization of Sardanapolus, as well as revealing a creation of the gender roles that opposes much of the Romantic works we have looked at in class thus far. Byron develops the character of Sardanapolous as an effeminate, weak, virtueless king, corrupted by sloth and prey to vice. He spends his time partying with the members of the court while he should be worrying about the state of affairs in his empire, as well as the possibility of challenges from enemies abroad. Sardanapolous also engages in adultery with an Ionia slave, a transgression his brother-in-law and major advisor cannot pardon him for, on personal and moral grounds. Contrastingly, Byron portrays the women in Sardanapolus as possessing strong morality, virtue, and mental faculty: Myrrha seems ashamed of their affair, blushing in the presence of Salmenes and encouraging Sardanapolus to take on his monarchial duties; the Queen finds Sardanapolus' infidelity and general carousing reprehensible; and Salmenes laments on the great accomplishments of Semiramis, a past ruler and accomplished military crusader of the empire. Byron also describes Sardanapolus' dress and mannerisms as effeminate in Salmenes' introductory monologue. Strength of character, body, and mind are possessed by the female characters (namely the Queen), while vice, weakness, and corruptibility define the male characters (Sardanapolus).