This chapter has two correlative aims: on the one hand it seeks to complicate the customary conception of Byron as a figure of strength, and on the other hand it challenges the commonplace pejorative understanding of levity as a matter of frivolity, irreverence, or licentiousness, by drawing attention to other, more positive forms of lightness that also play a vital role in Byron’s comic masterpiece. More particularly, by reflecting on Don Juan’s ‘three graces’ (the Duchess of Fitz-Fulke, Lady Adeline, and Aurora Raby), the chapter highlights three contrasting models of levity: the carnivalesque, the courtly, and the eschatological. One of the surprising things that emerges from this consideration of the poem’s intermingling of sexual, socio-political, and religious forms of lightness is an underlying posture of epistemological weakness, which both fosters and is fostered by a sceptical openness to possibilities.