The mysterious masked hero fighting for truth and justice has become one of our more beloved figures of romantic fantasy. Diego’s physical appearance, his mixed blood, and the mysterious rites undergone with his grandmother and La Justicia combine in elavating him to that status.
But just as she has built him up, Allende can whittle him down. His adoration for the vacuous Juliana, his vanity (the mask serves a dual purpose: a disguise and a means for covering his protruding ears), and his penchant for bold proclamations combine to make him a figure somewhat ridiculous to our eyes.
All good romantic heroes need an adversary, and Allende provides one in the name of Rafael Moncada. His desire for Juliana drives him to deeds that guarantee a heroic response on the part of Diego, and hastens the evolution of Zorro. It is Rafael, by having Juliana’s father arrested, hoping she will turn to him as a last resort, who ultimately sends Diego back to California.
Spurned by Juliana one time too many, he threatens to arrest her and her sister Isabel as the daughters of a traitor if she does not accept him. Diego insists they should flee back to his father, as that is their only chance. Selfishly, he also figures having Juliana to himself for the whole journey will finally weaken her resistance and send her to his arms.
The return journey is full of pirates and adventures. Juliana at last finds happiness in the arms of the ultimate romantic ideal; a charming and roguish privateer. "To steer a sinner down a good path is an irresistible project, and Juliana set her goal with religious zeal" is the description given to describe her happiness at the marriage. She will live out her days like her romantic heroines, her love a beacon of saintliness for her previously wayward husband.
Before Zorro can take up his mantle, there is one more obstacle to be removed. Rafael has managed to beat him to California. He has used his influence to imprison Diego’s father and oppress the populace. Zorro rises to the occasion, rights the wrongs, and sends Rafael back to Spain vowing vengeance.
At points throughout the story there are interjections provided by a narrator. Progressively, this disembodied voice makes itself conspicuous through asides and editorial comments. It speculates out loud on the motivations of characters, but confesses to ignorance, or even an unwillingness, to talk about certain details.
Given that the narrator obviously has Zorro’s permission and full cooperation, Allende has both bridged the gap between reader and subject and invested the material with a touch of realism. Although fantastical in places, and romantic in others, the off-stage voice puts the blame for that squarely on the shoulders of the characters not the story.
Article comments
1 - DrPat
How about Zorro, the Gay Blade? I always thought that poked a lot fun at the romantic hero, and the self-righteous heroine...
I mean, as an ASIN, of course.
2 - gypsyman
Pat:
You know I thought about it, but I've never seen it, which could be said for half my choices but they were based on trying to show a historical range of work, and a personal aversion to George Hamiltion was a strong factor.
Something about the title bothered me, I couldn't remember if this movie had been camp in a positive or negative way, and to me that's important. I don't like negative sterotypes for any group.
Yeah I know really p.c. but so am I sometimes.
cheers gypsyman
3 - Ernesto
Nice limn, good points, especially the discussion of identity and myth-making. Seems there's always a double-edged sword to wearing a mask -- it protects but isolates the wearer ... I'd been wanting to pick this up but was a bit nervous; I loved House of the Spirits when I read it back in college but my memory of the book tells me I'd like it less if I read it now. (Sort of like Tom Robbins' books ...) Your review makes it sound, however, as though this would be worth the risk!