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Mirror, Mirror on the Wall Who's the Most Narcissistic Byronic Hero Of All? Heroes embody every fantastic character and ethical characteristics in society when looking at them at a conventional way. However, George Gordon Byron produced a hero that diverges from the normal hero we see today, one that differs so significantly with all the hero society is accustomed to seeing that we do not even notice them as such. In Manfred (1816), Byron reveals how Manfred's arduous journey of living with guilt as well as the limitations of human state pushes him to what he attempts, his own death. By comparison, in Oscar Wilde's The Picture of Dorian Gray (1891) a young man who "looks as if he had been made out of ivory and rose-leaves" (10) has been look as so as the years proceed. Because of this, his portrait marks all his sins, showing all his suffering and pains while he remains untarnished. While these two writers are from various eras of literature, both explore how the possession of wicked can govern their own lives. However, whereas Byron illustrates the damaging effects when one knows his evil, Wilde displays how Gray's naivety and oblivion is what eventually result in his downfall. Whether that the Byronic hero has been developed over the years or born one right from the beginning, it is no doubt they are "characterized by a marked divide between his outside appearance and his interiority" (Poole). These personalities are not solely self-absorbed, anguish beings that strangely enamor everybody they pass , but they cope with a challenging battle of finding the equilibrium between spiritual self and what people see on the surface. At The Presentation of Self in Everyday Life, Erwin Goffman discusses his notion of individuals' expressiveness. Goffman explains, "Expressiven...