face turns Lady Adeline pale. Noticing the response of her hostess, the Duchess of Fitz-Fulke gives a hard-eyed look to Don Juan, whilst the adolescent Aurora looks at him "with a kind of calm surprise". Lady Adeline asks if he is ill; Lord Henry says that Don Juan saw the "Black Friar" pace the hallway at night, and then tells of the "spirit of these walls", who was often seen in the past, but not of late. That on honeymoon with Lady Adeline, he saw the ghost of the Black Friar haunt the halls of the house. Accompanying herself with a harp, Lady Adeline sings the story of the ghost of the Black Friar; Aurora is silent, whilst Lady Fitz-Fulke appears mischievous. The narrator suggests that Lady Adeline sang to dispel Don Juan's dismay. The domestic staff of the house realise preparations for that evening's dinner party, whilst Don Juan failed to dispel dismay. The domestic affairs of the Amundeville estate include assorted petitioners and a pregnant country girl seeking legal remedy from Lord Henry, in his capacity as justice of the peace. At dinner, Lady Adeline performs as hostess, the Duchess of Fitz-Fulke is at her ease, and Don Juan is again preoccupied with his thoughts. Glancing at Aurora, he spies a smile creasing her cheeks, but is uncertain of its meaning, because she is quiet and her face slightly flushed. When hosts and guests retire for the night, Don Juan again thinks of Aurora, who has reawakened romantic feelings he thought lost in the past. That night, from his rooms, Don Juan again hears footfalls in the hallway, expecting the Black Friar's ghost. The door opens, but the hood conceals the face; Don Juan pursues and pushes the ghost against a wall, and smells a sweet breath, sees red lips and straggling curls, and a pearl necklace that frames a glowing bust. Don Juan pulls back the hood to reveal the voluptuous Duchess of Fitz-Fulke. Canto XVII Truncated story. When Lord Byron died in 1824, the epic satire Don Juan was incomplete, and the concluding canto XVII featured little mention of the protagonist, Don Juan, and many mentions of the literary rivals, enemies, and critics who moralistically objected to Byron’s perspectives of people, life, and society; the critical gist was: "If you are right, then everybody's wrong!" In self-defence, Byron the poet lists people who were considered revolutionaries