At several points throughout The Scarlet Pimpernel, Orczy uses figurative language to compare certain characters and concepts to dogs. This language is most frequently applied to Sir Percy, whom society views as intellectually inferior to his wife. In Chapter 6, Orczy describes him as oblivious to Marguerite's disdain for him:
But then Blakeney was really too stupid to notice the ridicule with which his clever wife covered him, and if his matrimonial relations with the fascinating Parisienne had not turned out all that his hopes and his doglike devotion for her had pictured, society could never do more than vaguely guess at it.
By describing Sir Percy as "doglike," Orczy emphasizes his seemingly unquestioned devotion to his wife, who treats him almost like a pet.
In Chapter 7, Marguerite recalls how Sir Percy's love for her dissipated shortly after their wedding:
Then suddenly that love, that devotion, which throughout his courtship she had looked upon as the slavish fidelity of a dog, seemed to vanish completely.
This simile illustrates the shallow nature of Marguerite's initial affection for Sir Percy. She enjoyed his "slavish fidelity" and viewed him as a devoted dog rather than an intellectual equal.
In Chapter 16, Sir Percy acknowledges the view his wife has of him:
"Do you wish to see me once more a love-sick suppliant at your feet, so that you might again have the pleasure of kicking me aside, like a troublesome lap-dog?”
By sarcastically likening himself to a lapdog, Sir Percy shows how lowly and unappreciated Marguerite's behavior has made him feel. His use of simile also hints that Sir Percy is not as foppish and inane as he appears—he is well aware of how his wife and the rest of society perceive him, and his pride makes it difficult to maintain the act.
Orczy also uses the motif of dogs to represent the French Revolution. In Chapter 8, Marguerite recalls how her brother Armand was treated after he developed an affection for the Marquis de St. Cyr's daughter:
"[T] he next night he was waylaid just outside Paris by the valets of the Marquis de St. Cyr, and ignominiously thrashed—thrashed like a dog within an inch of his life—because he had dared to raise his eyes to the daughter of the aristocrat."
The simile "thrashed like a dog" demonstrates how, prior to the revolution, French peasants were mistreated and dehumanized by the aristocracy.
In Chapter 16, by contrast, Sir Percy metaphorically compares the French Revolution itself to a dog:
"[T]he murderous dog of the revolution is turning upon the very hands that fed it?"
This metaphor thematically aligns Sir Percy's plight with that of the French peasantry, implying that both have been unfairly mistreated. But by comparing revolutionaries to dogs, Orczy also seems to imply that they are at least partially deserving of such treatment.
At several points throughout The Scarlet Pimpernel, Orczy uses figurative language relating to snakes and serpents. She first introduces the image in Chapter 7, where it is associated with Marguerite:
The gentle sea-breeze blew Marguerite's hair about her face, and sent the ends of her soft lace fichu waving round her, like a white and supple snake.
This reference to snakes is likely a Biblical allusion to the serpent in the Garden of Eden, a figure associated with treachery. The allusion calls to mind the fate of Eve, who disobeyed God and brought about the fall of mankind after being deceived by the serpent. By using this allusion in relation to Marguerite, Orczy signals that she has committed acts of treachery in the past—most notably her role in the execution of the Marquis de St. Cyr and his family. Orczy also foreshadows events that occur later in the novel, in which Marguerite unwittingly betrays her husband after being blackmailed by Chauvelin.
Orczy explicitly links Chauvelin with the image of snakes in Chapter 9:
A figure had emerged from under one of the benches; with snakelike, noiseless movements it crept closer and closer to the two men, not breathing, only gliding along the floor, in the inky blackness of the room.
The biblical serpent, in addition to its traditional association with treachery, is also sometimes interpreted as Satan in animal form. At other points in The Scarlet Pimpernel, Orczy explicitly likens Chauvelin and his men to demons from hell. These comparisons, along with this allusion to the biblical serpent, align Chauvelin—and, by extension, the French Republic—with the forces of ultimate evil.
Snake-related imagery makes another appearance in Chapter 16, when Marguerite and Sir Percy are on their way home from Lord Grenville's ball:
The river wound in and out in its pretty delicate curves, looking like a silver serpent beneath the glittering rays of the moon.
This and the earlier simile from Chapter 7 are both visually appealing, representing the contrast between Marguerite's beauty and apparent innocence and her past misdeeds. This simile also reminds the reader that Marguerite, on orders from Chauvelin, has just committed another act of treachery at Lord Grenville's ball.
At several points throughout The Scarlet Pimpernel, Orczy uses figurative language to compare certain characters and concepts to dogs. This language is most frequently applied to Sir Percy, whom society views as intellectually inferior to his wife. In Chapter 6, Orczy describes him as oblivious to Marguerite's disdain for him:
But then Blakeney was really too stupid to notice the ridicule with which his clever wife covered him, and if his matrimonial relations with the fascinating Parisienne had not turned out all that his hopes and his doglike devotion for her had pictured, society could never do more than vaguely guess at it.
By describing Sir Percy as "doglike," Orczy emphasizes his seemingly unquestioned devotion to his wife, who treats him almost like a pet.
In Chapter 7, Marguerite recalls how Sir Percy's love for her dissipated shortly after their wedding:
Then suddenly that love, that devotion, which throughout his courtship she had looked upon as the slavish fidelity of a dog, seemed to vanish completely.
This simile illustrates the shallow nature of Marguerite's initial affection for Sir Percy. She enjoyed his "slavish fidelity" and viewed him as a devoted dog rather than an intellectual equal.
In Chapter 16, Sir Percy acknowledges the view his wife has of him:
"Do you wish to see me once more a love-sick suppliant at your feet, so that you might again have the pleasure of kicking me aside, like a troublesome lap-dog?”
By sarcastically likening himself to a lapdog, Sir Percy shows how lowly and unappreciated Marguerite's behavior has made him feel. His use of simile also hints that Sir Percy is not as foppish and inane as he appears—he is well aware of how his wife and the rest of society perceive him, and his pride makes it difficult to maintain the act.
Orczy also uses the motif of dogs to represent the French Revolution. In Chapter 8, Marguerite recalls how her brother Armand was treated after he developed an affection for the Marquis de St. Cyr's daughter:
"[T] he next night he was waylaid just outside Paris by the valets of the Marquis de St. Cyr, and ignominiously thrashed—thrashed like a dog within an inch of his life—because he had dared to raise his eyes to the daughter of the aristocrat."
The simile "thrashed like a dog" demonstrates how, prior to the revolution, French peasants were mistreated and dehumanized by the aristocracy.
In Chapter 16, by contrast, Sir Percy metaphorically compares the French Revolution itself to a dog:
"[T]he murderous dog of the revolution is turning upon the very hands that fed it?"
This metaphor thematically aligns Sir Percy's plight with that of the French peasantry, implying that both have been unfairly mistreated. But by comparing revolutionaries to dogs, Orczy also seems to imply that they are at least partially deserving of such treatment.
Throughout The Scarlet Pimpernel, Orczy uses the motif of animal-related metaphors and similes to dramatize the rivalry between Chauvelin and Sir Percy. When Chauvelin is first introduced in Chapter 8, Orczy compares him to a fox and calls attention to his intelligence:
Chauvelin was then nearer forty than thirty—a clever, shrewd-looking personality, with a curious fox-like expression in the deep, sunken eyes.
In Chapter 10, Orczy likens Chauvelin to a cat, which, like the fox, is an animal known for its dexterity, perception, and ability to track its prey:
He paused for a moment, like a cat which sees a mouse running heedlessly by, ready to spring, yet waiting with that feline sense of enjoyment of mischief about to be done.
Although these traits could be characterized as positive, Orczy specifically calls attention to Chauvelin's capacity for cruel behavior. Like a cat with a mouse, she suggests, he takes pleasure in toying with his victims.
In Chapter 15, Orczy again compares Chauvelin to a fox:
[L]ike the fox he so resembled, Chauvelin would be prowling round, thinking to find her alone.
Here, the emphasis is not on Chauvelin's intelligence but on his tendency to sneak around, a trait associated with cowardice and deceit.
When Chauvelin is placed in comparison to Sir Percy, he is described alternately as a rat or a ferret, while Sir Percy is compared to an eagle or a lion. In Chapter 15, Marguerite worries that Chauvelin will succeed in capturing the elusive Scarlet Pimpernel:
[T]he irony of that fate seemed so cruel which allowed the fearless lion to succumb to the gnawing of a rat!
The image of the lion conjures up notions of monarchy, physical power, and pride, all traits that Marguerite associates with The Scarlet Pimpernel. Rats, meanwhile, are associated with filth, disease, and treachery.
In Chapter 25, after Marguerite has realized that the Scarlet Pimpernel and her husband are one and the same, she uses a similar metaphor:
"[T]he brave eagle would have fallen in the ferret's trap!"
Eagles, like lions, are traditionally viewed as regal and powerful, while ferrets are prey animals often eaten by raptors. A ferret trapping an eagle represents an ironic inversion of nature. This is not simply a rivalry between two men, Orczy suggests, but a struggle to preserve the natural order of the universe.
Near the end of the novel, however, these metaphors and similes undergo a reversal. As it becomes more likely that Chauvelin will emerge victorious, he becomes more identified with the image of the eagle—in Chapter 29, his hands are described as "talon-like." In the same chapter, meanwhile, Sir Percy is compared to a fox:
"[A] warning to the cunning fox, which I have been at such pains to track to his lair."
This metaphor highlights the similarities between Chauvelin and Sir Percy, both of whom are known for their intelligence. But while Chauvelin is depicted as a sly hunter, when Sir Percy is likened to a fox, he is depicted as prey. In Chapter 26, Chauvelin suggests that his men have sadistic plans in mind for Sir Percy after he is captured:
"[O]ur men will enjoy a bit of rough sport there with the wounded fox."
This line is likely a reference to the sport of fox hunting, which is controversial and has been banned or restricted in several areas as the result of its perceived cruelty. Ironically, fox hunting is a popular aspect of British aristocratic tradition, which Orczy spends much of the novel idealizing. Here, however, she portrays this particular aristocratic practice as ghastly and inhumane.
At several points throughout The Scarlet Pimpernel, Orczy uses figurative language to compare certain characters and concepts to dogs. This language is most frequently applied to Sir Percy, whom society views as intellectually inferior to his wife. In Chapter 6, Orczy describes him as oblivious to Marguerite's disdain for him:
But then Blakeney was really too stupid to notice the ridicule with which his clever wife covered him, and if his matrimonial relations with the fascinating Parisienne had not turned out all that his hopes and his doglike devotion for her had pictured, society could never do more than vaguely guess at it.
By describing Sir Percy as "doglike," Orczy emphasizes his seemingly unquestioned devotion to his wife, who treats him almost like a pet.
In Chapter 7, Marguerite recalls how Sir Percy's love for her dissipated shortly after their wedding:
Then suddenly that love, that devotion, which throughout his courtship she had looked upon as the slavish fidelity of a dog, seemed to vanish completely.
This simile illustrates the shallow nature of Marguerite's initial affection for Sir Percy. She enjoyed his "slavish fidelity" and viewed him as a devoted dog rather than an intellectual equal.
In Chapter 16, Sir Percy acknowledges the view his wife has of him:
"Do you wish to see me once more a love-sick suppliant at your feet, so that you might again have the pleasure of kicking me aside, like a troublesome lap-dog?”
By sarcastically likening himself to a lapdog, Sir Percy shows how lowly and unappreciated Marguerite's behavior has made him feel. His use of simile also hints that Sir Percy is not as foppish and inane as he appears—he is well aware of how his wife and the rest of society perceive him, and his pride makes it difficult to maintain the act.
Orczy also uses the motif of dogs to represent the French Revolution. In Chapter 8, Marguerite recalls how her brother Armand was treated after he developed an affection for the Marquis de St. Cyr's daughter:
"[T] he next night he was waylaid just outside Paris by the valets of the Marquis de St. Cyr, and ignominiously thrashed—thrashed like a dog within an inch of his life—because he had dared to raise his eyes to the daughter of the aristocrat."
The simile "thrashed like a dog" demonstrates how, prior to the revolution, French peasants were mistreated and dehumanized by the aristocracy.
In Chapter 16, by contrast, Sir Percy metaphorically compares the French Revolution itself to a dog:
"[T]he murderous dog of the revolution is turning upon the very hands that fed it?"
This metaphor thematically aligns Sir Percy's plight with that of the French peasantry, implying that both have been unfairly mistreated. But by comparing revolutionaries to dogs, Orczy also seems to imply that they are at least partially deserving of such treatment.
At several points throughout The Scarlet Pimpernel, Orczy uses figurative language relating to snakes and serpents. She first introduces the image in Chapter 7, where it is associated with Marguerite:
The gentle sea-breeze blew Marguerite's hair about her face, and sent the ends of her soft lace fichu waving round her, like a white and supple snake.
This reference to snakes is likely a Biblical allusion to the serpent in the Garden of Eden, a figure associated with treachery. The allusion calls to mind the fate of Eve, who disobeyed God and brought about the fall of mankind after being deceived by the serpent. By using this allusion in relation to Marguerite, Orczy signals that she has committed acts of treachery in the past—most notably her role in the execution of the Marquis de St. Cyr and his family. Orczy also foreshadows events that occur later in the novel, in which Marguerite unwittingly betrays her husband after being blackmailed by Chauvelin.
Orczy explicitly links Chauvelin with the image of snakes in Chapter 9:
A figure had emerged from under one of the benches; with snakelike, noiseless movements it crept closer and closer to the two men, not breathing, only gliding along the floor, in the inky blackness of the room.
The biblical serpent, in addition to its traditional association with treachery, is also sometimes interpreted as Satan in animal form. At other points in The Scarlet Pimpernel, Orczy explicitly likens Chauvelin and his men to demons from hell. These comparisons, along with this allusion to the biblical serpent, align Chauvelin—and, by extension, the French Republic—with the forces of ultimate evil.
Snake-related imagery makes another appearance in Chapter 16, when Marguerite and Sir Percy are on their way home from Lord Grenville's ball:
The river wound in and out in its pretty delicate curves, looking like a silver serpent beneath the glittering rays of the moon.
This and the earlier simile from Chapter 7 are both visually appealing, representing the contrast between Marguerite's beauty and apparent innocence and her past misdeeds. This simile also reminds the reader that Marguerite, on orders from Chauvelin, has just committed another act of treachery at Lord Grenville's ball.
Throughout The Scarlet Pimpernel, Orczy uses the motif of animal-related metaphors and similes to dramatize the rivalry between Chauvelin and Sir Percy. When Chauvelin is first introduced in Chapter 8, Orczy compares him to a fox and calls attention to his intelligence:
Chauvelin was then nearer forty than thirty—a clever, shrewd-looking personality, with a curious fox-like expression in the deep, sunken eyes.
In Chapter 10, Orczy likens Chauvelin to a cat, which, like the fox, is an animal known for its dexterity, perception, and ability to track its prey:
He paused for a moment, like a cat which sees a mouse running heedlessly by, ready to spring, yet waiting with that feline sense of enjoyment of mischief about to be done.
Although these traits could be characterized as positive, Orczy specifically calls attention to Chauvelin's capacity for cruel behavior. Like a cat with a mouse, she suggests, he takes pleasure in toying with his victims.
In Chapter 15, Orczy again compares Chauvelin to a fox:
[L]ike the fox he so resembled, Chauvelin would be prowling round, thinking to find her alone.
Here, the emphasis is not on Chauvelin's intelligence but on his tendency to sneak around, a trait associated with cowardice and deceit.
When Chauvelin is placed in comparison to Sir Percy, he is described alternately as a rat or a ferret, while Sir Percy is compared to an eagle or a lion. In Chapter 15, Marguerite worries that Chauvelin will succeed in capturing the elusive Scarlet Pimpernel:
[T]he irony of that fate seemed so cruel which allowed the fearless lion to succumb to the gnawing of a rat!
The image of the lion conjures up notions of monarchy, physical power, and pride, all traits that Marguerite associates with The Scarlet Pimpernel. Rats, meanwhile, are associated with filth, disease, and treachery.
In Chapter 25, after Marguerite has realized that the Scarlet Pimpernel and her husband are one and the same, she uses a similar metaphor:
"[T]he brave eagle would have fallen in the ferret's trap!"
Eagles, like lions, are traditionally viewed as regal and powerful, while ferrets are prey animals often eaten by raptors. A ferret trapping an eagle represents an ironic inversion of nature. This is not simply a rivalry between two men, Orczy suggests, but a struggle to preserve the natural order of the universe.
Near the end of the novel, however, these metaphors and similes undergo a reversal. As it becomes more likely that Chauvelin will emerge victorious, he becomes more identified with the image of the eagle—in Chapter 29, his hands are described as "talon-like." In the same chapter, meanwhile, Sir Percy is compared to a fox:
"[A] warning to the cunning fox, which I have been at such pains to track to his lair."
This metaphor highlights the similarities between Chauvelin and Sir Percy, both of whom are known for their intelligence. But while Chauvelin is depicted as a sly hunter, when Sir Percy is likened to a fox, he is depicted as prey. In Chapter 26, Chauvelin suggests that his men have sadistic plans in mind for Sir Percy after he is captured:
"[O]ur men will enjoy a bit of rough sport there with the wounded fox."
This line is likely a reference to the sport of fox hunting, which is controversial and has been banned or restricted in several areas as the result of its perceived cruelty. Ironically, fox hunting is a popular aspect of British aristocratic tradition, which Orczy spends much of the novel idealizing. Here, however, she portrays this particular aristocratic practice as ghastly and inhumane.
At several points throughout The Scarlet Pimpernel, Orczy personifies the concept of fate. In part, this personification is an allusion to the Fates in Greek mythology—a trio of female deities responsible for mortal destiny. But Orczy also uses the motif of personified fate to advance her argument about the superiority of the English aristocracy.
In Chapter 14, Marguerite personifies fate in an attempt to justify her decision to help Chauvelin in his attempts to capture the Scarlet Pimpernel:
Fate had decided, had made her speak, had made her do a vile, abominable thing, for the sake of the brother she loved.
By blaming "Fate" for her actions, Marguerite refuses to acknowledge her own agency in the situation. She is responsible for the choice to help Chauvelin, just as she was responsible for her actions back home in France, which led to the execution of the Marquis de St. Cyr and his family. But by placing the blame on Fate, an all-powerful mythical entity, Marguerite can avoid the guilt she feels.
In Chapter 30, after Marguerite finally takes full responsibility for her actions and seeks to atone for them, Orczy implies that Fate has actually been on the side of the Scarlet Pimpernel all along:
It really seemed as if some potent Fate watched over that daring Scarlet Pimpernel, and his astute enemy almost felt a superstitious shudder pass through him, as he looked round at the towering cliffs, and the loneliness of this outlying coast.
In this passage, Chauvelin almost feels "a superstitious shudder" at the realization that the Scarlet Pimpernel has slipped through his fingers once again. The Scarlet Pimpernel's luck, to Chauvelin, appears almost supernatural.
In Chapter 31, after Sir Percy and Marguerite have successfully escaped Chauvelin, Sir Percy also expresses his opinion that Fate is on his side:
"I thought that Fate and I were going to work together after all."
By having the forces of fate align to aid Sir Percy, Orczy implies that his mission, as well as the superiority of the English aristocracy, is somehow divinely sanctioned.
Throughout The Scarlet Pimpernel, Orczy uses the motif of animal-related metaphors and similes to dramatize the rivalry between Chauvelin and Sir Percy. When Chauvelin is first introduced in Chapter 8, Orczy compares him to a fox and calls attention to his intelligence:
Chauvelin was then nearer forty than thirty—a clever, shrewd-looking personality, with a curious fox-like expression in the deep, sunken eyes.
In Chapter 10, Orczy likens Chauvelin to a cat, which, like the fox, is an animal known for its dexterity, perception, and ability to track its prey:
He paused for a moment, like a cat which sees a mouse running heedlessly by, ready to spring, yet waiting with that feline sense of enjoyment of mischief about to be done.
Although these traits could be characterized as positive, Orczy specifically calls attention to Chauvelin's capacity for cruel behavior. Like a cat with a mouse, she suggests, he takes pleasure in toying with his victims.
In Chapter 15, Orczy again compares Chauvelin to a fox:
[L]ike the fox he so resembled, Chauvelin would be prowling round, thinking to find her alone.
Here, the emphasis is not on Chauvelin's intelligence but on his tendency to sneak around, a trait associated with cowardice and deceit.
When Chauvelin is placed in comparison to Sir Percy, he is described alternately as a rat or a ferret, while Sir Percy is compared to an eagle or a lion. In Chapter 15, Marguerite worries that Chauvelin will succeed in capturing the elusive Scarlet Pimpernel:
[T]he irony of that fate seemed so cruel which allowed the fearless lion to succumb to the gnawing of a rat!
The image of the lion conjures up notions of monarchy, physical power, and pride, all traits that Marguerite associates with The Scarlet Pimpernel. Rats, meanwhile, are associated with filth, disease, and treachery.
In Chapter 25, after Marguerite has realized that the Scarlet Pimpernel and her husband are one and the same, she uses a similar metaphor:
"[T]he brave eagle would have fallen in the ferret's trap!"
Eagles, like lions, are traditionally viewed as regal and powerful, while ferrets are prey animals often eaten by raptors. A ferret trapping an eagle represents an ironic inversion of nature. This is not simply a rivalry between two men, Orczy suggests, but a struggle to preserve the natural order of the universe.
Near the end of the novel, however, these metaphors and similes undergo a reversal. As it becomes more likely that Chauvelin will emerge victorious, he becomes more identified with the image of the eagle—in Chapter 29, his hands are described as "talon-like." In the same chapter, meanwhile, Sir Percy is compared to a fox:
"[A] warning to the cunning fox, which I have been at such pains to track to his lair."
This metaphor highlights the similarities between Chauvelin and Sir Percy, both of whom are known for their intelligence. But while Chauvelin is depicted as a sly hunter, when Sir Percy is likened to a fox, he is depicted as prey. In Chapter 26, Chauvelin suggests that his men have sadistic plans in mind for Sir Percy after he is captured:
"[O]ur men will enjoy a bit of rough sport there with the wounded fox."
This line is likely a reference to the sport of fox hunting, which is controversial and has been banned or restricted in several areas as the result of its perceived cruelty. Ironically, fox hunting is a popular aspect of British aristocratic tradition, which Orczy spends much of the novel idealizing. Here, however, she portrays this particular aristocratic practice as ghastly and inhumane.
At several points throughout The Scarlet Pimpernel, Orczy uses figurative language relating to snakes and serpents. She first introduces the image in Chapter 7, where it is associated with Marguerite:
The gentle sea-breeze blew Marguerite's hair about her face, and sent the ends of her soft lace fichu waving round her, like a white and supple snake.
This reference to snakes is likely a Biblical allusion to the serpent in the Garden of Eden, a figure associated with treachery. The allusion calls to mind the fate of Eve, who disobeyed God and brought about the fall of mankind after being deceived by the serpent. By using this allusion in relation to Marguerite, Orczy signals that she has committed acts of treachery in the past—most notably her role in the execution of the Marquis de St. Cyr and his family. Orczy also foreshadows events that occur later in the novel, in which Marguerite unwittingly betrays her husband after being blackmailed by Chauvelin.
Orczy explicitly links Chauvelin with the image of snakes in Chapter 9:
A figure had emerged from under one of the benches; with snakelike, noiseless movements it crept closer and closer to the two men, not breathing, only gliding along the floor, in the inky blackness of the room.
The biblical serpent, in addition to its traditional association with treachery, is also sometimes interpreted as Satan in animal form. At other points in The Scarlet Pimpernel, Orczy explicitly likens Chauvelin and his men to demons from hell. These comparisons, along with this allusion to the biblical serpent, align Chauvelin—and, by extension, the French Republic—with the forces of ultimate evil.
Snake-related imagery makes another appearance in Chapter 16, when Marguerite and Sir Percy are on their way home from Lord Grenville's ball:
The river wound in and out in its pretty delicate curves, looking like a silver serpent beneath the glittering rays of the moon.
This and the earlier simile from Chapter 7 are both visually appealing, representing the contrast between Marguerite's beauty and apparent innocence and her past misdeeds. This simile also reminds the reader that Marguerite, on orders from Chauvelin, has just committed another act of treachery at Lord Grenville's ball.
At several points throughout The Scarlet Pimpernel, Orczy uses figurative language to compare certain characters and concepts to dogs. This language is most frequently applied to Sir Percy, whom society views as intellectually inferior to his wife. In Chapter 6, Orczy describes him as oblivious to Marguerite's disdain for him:
But then Blakeney was really too stupid to notice the ridicule with which his clever wife covered him, and if his matrimonial relations with the fascinating Parisienne had not turned out all that his hopes and his doglike devotion for her had pictured, society could never do more than vaguely guess at it.
By describing Sir Percy as "doglike," Orczy emphasizes his seemingly unquestioned devotion to his wife, who treats him almost like a pet.
In Chapter 7, Marguerite recalls how Sir Percy's love for her dissipated shortly after their wedding:
Then suddenly that love, that devotion, which throughout his courtship she had looked upon as the slavish fidelity of a dog, seemed to vanish completely.
This simile illustrates the shallow nature of Marguerite's initial affection for Sir Percy. She enjoyed his "slavish fidelity" and viewed him as a devoted dog rather than an intellectual equal.
In Chapter 16, Sir Percy acknowledges the view his wife has of him:
"Do you wish to see me once more a love-sick suppliant at your feet, so that you might again have the pleasure of kicking me aside, like a troublesome lap-dog?”
By sarcastically likening himself to a lapdog, Sir Percy shows how lowly and unappreciated Marguerite's behavior has made him feel. His use of simile also hints that Sir Percy is not as foppish and inane as he appears—he is well aware of how his wife and the rest of society perceive him, and his pride makes it difficult to maintain the act.
Orczy also uses the motif of dogs to represent the French Revolution. In Chapter 8, Marguerite recalls how her brother Armand was treated after he developed an affection for the Marquis de St. Cyr's daughter:
"[T] he next night he was waylaid just outside Paris by the valets of the Marquis de St. Cyr, and ignominiously thrashed—thrashed like a dog within an inch of his life—because he had dared to raise his eyes to the daughter of the aristocrat."
The simile "thrashed like a dog" demonstrates how, prior to the revolution, French peasants were mistreated and dehumanized by the aristocracy.
In Chapter 16, by contrast, Sir Percy metaphorically compares the French Revolution itself to a dog:
"[T]he murderous dog of the revolution is turning upon the very hands that fed it?"
This metaphor thematically aligns Sir Percy's plight with that of the French peasantry, implying that both have been unfairly mistreated. But by comparing revolutionaries to dogs, Orczy also seems to imply that they are at least partially deserving of such treatment.
At several points throughout The Scarlet Pimpernel, Orczy uses the motif of the mask to foreshadow the revelation that Sir Percy is actually the Scarlet Pimpernel. In Chapter 17, after Marguerite has bid farewell to Sir Percy, she ponders suspicions that there is more to her husband than meets the eye:
And now that she looked back upon the last few months of misunderstandings and of loneliness, she realised that she had never ceased to love him; that deep down in her heart she had always vaguely felt that his foolish inanities, his empty laugh, his lazy nonchalance were nothing but a mask; that the real man, strong, passionate, wilful, was there still.
Marguerite's suspicions are correct—Sir Percy's foppish persona is indeed an act—but she fails to realize just how correct. Selfishly, she believes that Sir Percy is merely hiding his love for her, and she never considers that he could be concealing a heroic alter ego.
It is not until Chapter 19 that Marguerite understands the true nature of Sir Percy's "mask":
She understood it now—all at once . . . that part he played—the mask he wore . . . in order to throw dust in everybody’s eyes.
Early on in the novel, the Scarlet Pimpernel is established as a master of disguise. But even though Marguerite is aware of this fact, she fails to connect it to her husband's excellent acting abilities and the metaphorical "mask" he appears to wear.
At several points throughout The Scarlet Pimpernel, Orczy uses the motif of the mask to foreshadow the revelation that Sir Percy is actually the Scarlet Pimpernel. In Chapter 17, after Marguerite has bid farewell to Sir Percy, she ponders suspicions that there is more to her husband than meets the eye:
And now that she looked back upon the last few months of misunderstandings and of loneliness, she realised that she had never ceased to love him; that deep down in her heart she had always vaguely felt that his foolish inanities, his empty laugh, his lazy nonchalance were nothing but a mask; that the real man, strong, passionate, wilful, was there still.
Marguerite's suspicions are correct—Sir Percy's foppish persona is indeed an act—but she fails to realize just how correct. Selfishly, she believes that Sir Percy is merely hiding his love for her, and she never considers that he could be concealing a heroic alter ego.
It is not until Chapter 19 that Marguerite understands the true nature of Sir Percy's "mask":
She understood it now—all at once . . . that part he played—the mask he wore . . . in order to throw dust in everybody’s eyes.
Early on in the novel, the Scarlet Pimpernel is established as a master of disguise. But even though Marguerite is aware of this fact, she fails to connect it to her husband's excellent acting abilities and the metaphorical "mask" he appears to wear.
In The Scarlet Pimpernel, the setting of the English Channel is used to represent the geographical and cultural division between England and France. At numerous points throughout the novel, Orczy uses the motif of the sea to represent Marguerite's emotional state.
In Chapter 21, when Marguerite is waiting out a storm at "The Fisherman's Rest," the sea reflects her anxious mood:
She was in the mood when the sea has a saddening effect upon the nerves. It is only when we are very happy, that we can bear to gaze merrily upon the vast and limitless expanse of water, rolling on and on with such persistent, irritating monotony, to the accompaniment of our thoughts, whether grave or gay. When they are gay, the waves echo their gaiety; but when they are sad, then every breaker, as it rolls, seems to bring additional sadness, and to speak to us of hopelessness and of the pettiness of all our joys.
This passage, which is lush with visual imagery, illustrates the influence of the Romantic movement on The Scarlet Pimpernel. Romantic literature was characterized by the emphasis it placed on the connection between the natural world and human emotion.
In Chapter 29, after Marguerite has been captured by Chauvelin, the sea reflects the despair she feels at her predicament:
[S]he heard the incessant mournful murmur of the incoming tide, which spoke of her dead hopes, her lost love, the husband she had with her own hand betrayed, and sent to his death.
In this passage, Orczy describes the sea using vivid auditory imagery. Marguerite interprets the sound of the tide as a human voice that echoes her emotions back to her.
Throughout The Scarlet Pimpernel, Orczy uses the motif of animal-related metaphors and similes to dramatize the rivalry between Chauvelin and Sir Percy. When Chauvelin is first introduced in Chapter 8, Orczy compares him to a fox and calls attention to his intelligence:
Chauvelin was then nearer forty than thirty—a clever, shrewd-looking personality, with a curious fox-like expression in the deep, sunken eyes.
In Chapter 10, Orczy likens Chauvelin to a cat, which, like the fox, is an animal known for its dexterity, perception, and ability to track its prey:
He paused for a moment, like a cat which sees a mouse running heedlessly by, ready to spring, yet waiting with that feline sense of enjoyment of mischief about to be done.
Although these traits could be characterized as positive, Orczy specifically calls attention to Chauvelin's capacity for cruel behavior. Like a cat with a mouse, she suggests, he takes pleasure in toying with his victims.
In Chapter 15, Orczy again compares Chauvelin to a fox:
[L]ike the fox he so resembled, Chauvelin would be prowling round, thinking to find her alone.
Here, the emphasis is not on Chauvelin's intelligence but on his tendency to sneak around, a trait associated with cowardice and deceit.
When Chauvelin is placed in comparison to Sir Percy, he is described alternately as a rat or a ferret, while Sir Percy is compared to an eagle or a lion. In Chapter 15, Marguerite worries that Chauvelin will succeed in capturing the elusive Scarlet Pimpernel:
[T]he irony of that fate seemed so cruel which allowed the fearless lion to succumb to the gnawing of a rat!
The image of the lion conjures up notions of monarchy, physical power, and pride, all traits that Marguerite associates with The Scarlet Pimpernel. Rats, meanwhile, are associated with filth, disease, and treachery.
In Chapter 25, after Marguerite has realized that the Scarlet Pimpernel and her husband are one and the same, she uses a similar metaphor:
"[T]he brave eagle would have fallen in the ferret's trap!"
Eagles, like lions, are traditionally viewed as regal and powerful, while ferrets are prey animals often eaten by raptors. A ferret trapping an eagle represents an ironic inversion of nature. This is not simply a rivalry between two men, Orczy suggests, but a struggle to preserve the natural order of the universe.
Near the end of the novel, however, these metaphors and similes undergo a reversal. As it becomes more likely that Chauvelin will emerge victorious, he becomes more identified with the image of the eagle—in Chapter 29, his hands are described as "talon-like." In the same chapter, meanwhile, Sir Percy is compared to a fox:
"[A] warning to the cunning fox, which I have been at such pains to track to his lair."
This metaphor highlights the similarities between Chauvelin and Sir Percy, both of whom are known for their intelligence. But while Chauvelin is depicted as a sly hunter, when Sir Percy is likened to a fox, he is depicted as prey. In Chapter 26, Chauvelin suggests that his men have sadistic plans in mind for Sir Percy after he is captured:
"[O]ur men will enjoy a bit of rough sport there with the wounded fox."
This line is likely a reference to the sport of fox hunting, which is controversial and has been banned or restricted in several areas as the result of its perceived cruelty. Ironically, fox hunting is a popular aspect of British aristocratic tradition, which Orczy spends much of the novel idealizing. Here, however, she portrays this particular aristocratic practice as ghastly and inhumane.
Throughout The Scarlet Pimpernel, Orczy uses the motif of animal-related metaphors and similes to dramatize the rivalry between Chauvelin and Sir Percy. When Chauvelin is first introduced in Chapter 8, Orczy compares him to a fox and calls attention to his intelligence:
Chauvelin was then nearer forty than thirty—a clever, shrewd-looking personality, with a curious fox-like expression in the deep, sunken eyes.
In Chapter 10, Orczy likens Chauvelin to a cat, which, like the fox, is an animal known for its dexterity, perception, and ability to track its prey:
He paused for a moment, like a cat which sees a mouse running heedlessly by, ready to spring, yet waiting with that feline sense of enjoyment of mischief about to be done.
Although these traits could be characterized as positive, Orczy specifically calls attention to Chauvelin's capacity for cruel behavior. Like a cat with a mouse, she suggests, he takes pleasure in toying with his victims.
In Chapter 15, Orczy again compares Chauvelin to a fox:
[L]ike the fox he so resembled, Chauvelin would be prowling round, thinking to find her alone.
Here, the emphasis is not on Chauvelin's intelligence but on his tendency to sneak around, a trait associated with cowardice and deceit.
When Chauvelin is placed in comparison to Sir Percy, he is described alternately as a rat or a ferret, while Sir Percy is compared to an eagle or a lion. In Chapter 15, Marguerite worries that Chauvelin will succeed in capturing the elusive Scarlet Pimpernel:
[T]he irony of that fate seemed so cruel which allowed the fearless lion to succumb to the gnawing of a rat!
The image of the lion conjures up notions of monarchy, physical power, and pride, all traits that Marguerite associates with The Scarlet Pimpernel. Rats, meanwhile, are associated with filth, disease, and treachery.
In Chapter 25, after Marguerite has realized that the Scarlet Pimpernel and her husband are one and the same, she uses a similar metaphor:
"[T]he brave eagle would have fallen in the ferret's trap!"
Eagles, like lions, are traditionally viewed as regal and powerful, while ferrets are prey animals often eaten by raptors. A ferret trapping an eagle represents an ironic inversion of nature. This is not simply a rivalry between two men, Orczy suggests, but a struggle to preserve the natural order of the universe.
Near the end of the novel, however, these metaphors and similes undergo a reversal. As it becomes more likely that Chauvelin will emerge victorious, he becomes more identified with the image of the eagle—in Chapter 29, his hands are described as "talon-like." In the same chapter, meanwhile, Sir Percy is compared to a fox:
"[A] warning to the cunning fox, which I have been at such pains to track to his lair."
This metaphor highlights the similarities between Chauvelin and Sir Percy, both of whom are known for their intelligence. But while Chauvelin is depicted as a sly hunter, when Sir Percy is likened to a fox, he is depicted as prey. In Chapter 26, Chauvelin suggests that his men have sadistic plans in mind for Sir Percy after he is captured:
"[O]ur men will enjoy a bit of rough sport there with the wounded fox."
This line is likely a reference to the sport of fox hunting, which is controversial and has been banned or restricted in several areas as the result of its perceived cruelty. Ironically, fox hunting is a popular aspect of British aristocratic tradition, which Orczy spends much of the novel idealizing. Here, however, she portrays this particular aristocratic practice as ghastly and inhumane.
At multiple points throughout The Scarlet Pimpernel, characters demonstrate superhuman strength or endurance, usually during periods of intense emotion. Orczy uses vivid tactile imagery in these passages, which emphasizes her characters' physical stress.
In Chapter 28, as Marguerite races to the Père Blanchard's hut to warn Sir Percy about Chauvelin's trap, she exhibits an unusual level of endurance:
She felt neither soreness nor weariness; indomitable will to reach her husband in spite of adverse Fate, and of a cunning enemy, killed all sense of bodily pain within her, and rendered her instincts doubly acute.
Marguerite's feet ache from walking, and she is fatigued from lack of sleep, but she nevertheless manages to persevere through sheer force of will. This conviction reflects her enduring loyalty to her husband, which supersedes any physical exhaustion.
Later, in Chapter 31, Sir Percy is able to overcome severe physical injuries in order to carry Marguerite to safety:
All his fatigue was forgotten; his shoulders must have been very sore, for the soldiers had hit hard, but the man’s muscles seemed made of steel, and his energy was almost supernatural. It was a weary tramp, half a league along the stony side of the cliffs, but never for a moment did his courage give way or his muscles yield to fatigue.
In this passage, Orczy portrays Sir Percy's "energy" as "almost supernatural," which aligns with other descriptions that characterize him as an ideal man and the epitome of integrity and heroism. By depicting Sir Percy as superhuman, Orczy also emphasizes her belief in the inherent superiority of the English aristocracy.
Throughout The Scarlet Pimpernel, Orczy uses the motif of animal-related metaphors and similes to dramatize the rivalry between Chauvelin and Sir Percy. When Chauvelin is first introduced in Chapter 8, Orczy compares him to a fox and calls attention to his intelligence:
Chauvelin was then nearer forty than thirty—a clever, shrewd-looking personality, with a curious fox-like expression in the deep, sunken eyes.
In Chapter 10, Orczy likens Chauvelin to a cat, which, like the fox, is an animal known for its dexterity, perception, and ability to track its prey:
He paused for a moment, like a cat which sees a mouse running heedlessly by, ready to spring, yet waiting with that feline sense of enjoyment of mischief about to be done.
Although these traits could be characterized as positive, Orczy specifically calls attention to Chauvelin's capacity for cruel behavior. Like a cat with a mouse, she suggests, he takes pleasure in toying with his victims.
In Chapter 15, Orczy again compares Chauvelin to a fox:
[L]ike the fox he so resembled, Chauvelin would be prowling round, thinking to find her alone.
Here, the emphasis is not on Chauvelin's intelligence but on his tendency to sneak around, a trait associated with cowardice and deceit.
When Chauvelin is placed in comparison to Sir Percy, he is described alternately as a rat or a ferret, while Sir Percy is compared to an eagle or a lion. In Chapter 15, Marguerite worries that Chauvelin will succeed in capturing the elusive Scarlet Pimpernel:
[T]he irony of that fate seemed so cruel which allowed the fearless lion to succumb to the gnawing of a rat!
The image of the lion conjures up notions of monarchy, physical power, and pride, all traits that Marguerite associates with The Scarlet Pimpernel. Rats, meanwhile, are associated with filth, disease, and treachery.
In Chapter 25, after Marguerite has realized that the Scarlet Pimpernel and her husband are one and the same, she uses a similar metaphor:
"[T]he brave eagle would have fallen in the ferret's trap!"
Eagles, like lions, are traditionally viewed as regal and powerful, while ferrets are prey animals often eaten by raptors. A ferret trapping an eagle represents an ironic inversion of nature. This is not simply a rivalry between two men, Orczy suggests, but a struggle to preserve the natural order of the universe.
Near the end of the novel, however, these metaphors and similes undergo a reversal. As it becomes more likely that Chauvelin will emerge victorious, he becomes more identified with the image of the eagle—in Chapter 29, his hands are described as "talon-like." In the same chapter, meanwhile, Sir Percy is compared to a fox:
"[A] warning to the cunning fox, which I have been at such pains to track to his lair."
This metaphor highlights the similarities between Chauvelin and Sir Percy, both of whom are known for their intelligence. But while Chauvelin is depicted as a sly hunter, when Sir Percy is likened to a fox, he is depicted as prey. In Chapter 26, Chauvelin suggests that his men have sadistic plans in mind for Sir Percy after he is captured:
"[O]ur men will enjoy a bit of rough sport there with the wounded fox."
This line is likely a reference to the sport of fox hunting, which is controversial and has been banned or restricted in several areas as the result of its perceived cruelty. Ironically, fox hunting is a popular aspect of British aristocratic tradition, which Orczy spends much of the novel idealizing. Here, however, she portrays this particular aristocratic practice as ghastly and inhumane.
In The Scarlet Pimpernel, the setting of the English Channel is used to represent the geographical and cultural division between England and France. At numerous points throughout the novel, Orczy uses the motif of the sea to represent Marguerite's emotional state.
In Chapter 21, when Marguerite is waiting out a storm at "The Fisherman's Rest," the sea reflects her anxious mood:
She was in the mood when the sea has a saddening effect upon the nerves. It is only when we are very happy, that we can bear to gaze merrily upon the vast and limitless expanse of water, rolling on and on with such persistent, irritating monotony, to the accompaniment of our thoughts, whether grave or gay. When they are gay, the waves echo their gaiety; but when they are sad, then every breaker, as it rolls, seems to bring additional sadness, and to speak to us of hopelessness and of the pettiness of all our joys.
This passage, which is lush with visual imagery, illustrates the influence of the Romantic movement on The Scarlet Pimpernel. Romantic literature was characterized by the emphasis it placed on the connection between the natural world and human emotion.
In Chapter 29, after Marguerite has been captured by Chauvelin, the sea reflects the despair she feels at her predicament:
[S]he heard the incessant mournful murmur of the incoming tide, which spoke of her dead hopes, her lost love, the husband she had with her own hand betrayed, and sent to his death.
In this passage, Orczy describes the sea using vivid auditory imagery. Marguerite interprets the sound of the tide as a human voice that echoes her emotions back to her.
At several points throughout The Scarlet Pimpernel, Orczy personifies the concept of fate. In part, this personification is an allusion to the Fates in Greek mythology—a trio of female deities responsible for mortal destiny. But Orczy also uses the motif of personified fate to advance her argument about the superiority of the English aristocracy.
In Chapter 14, Marguerite personifies fate in an attempt to justify her decision to help Chauvelin in his attempts to capture the Scarlet Pimpernel:
Fate had decided, had made her speak, had made her do a vile, abominable thing, for the sake of the brother she loved.
By blaming "Fate" for her actions, Marguerite refuses to acknowledge her own agency in the situation. She is responsible for the choice to help Chauvelin, just as she was responsible for her actions back home in France, which led to the execution of the Marquis de St. Cyr and his family. But by placing the blame on Fate, an all-powerful mythical entity, Marguerite can avoid the guilt she feels.
In Chapter 30, after Marguerite finally takes full responsibility for her actions and seeks to atone for them, Orczy implies that Fate has actually been on the side of the Scarlet Pimpernel all along:
It really seemed as if some potent Fate watched over that daring Scarlet Pimpernel, and his astute enemy almost felt a superstitious shudder pass through him, as he looked round at the towering cliffs, and the loneliness of this outlying coast.
In this passage, Chauvelin almost feels "a superstitious shudder" at the realization that the Scarlet Pimpernel has slipped through his fingers once again. The Scarlet Pimpernel's luck, to Chauvelin, appears almost supernatural.
In Chapter 31, after Sir Percy and Marguerite have successfully escaped Chauvelin, Sir Percy also expresses his opinion that Fate is on his side:
"I thought that Fate and I were going to work together after all."
By having the forces of fate align to aid Sir Percy, Orczy implies that his mission, as well as the superiority of the English aristocracy, is somehow divinely sanctioned.
At several points throughout The Scarlet Pimpernel, Orczy personifies the concept of fate. In part, this personification is an allusion to the Fates in Greek mythology—a trio of female deities responsible for mortal destiny. But Orczy also uses the motif of personified fate to advance her argument about the superiority of the English aristocracy.
In Chapter 14, Marguerite personifies fate in an attempt to justify her decision to help Chauvelin in his attempts to capture the Scarlet Pimpernel:
Fate had decided, had made her speak, had made her do a vile, abominable thing, for the sake of the brother she loved.
By blaming "Fate" for her actions, Marguerite refuses to acknowledge her own agency in the situation. She is responsible for the choice to help Chauvelin, just as she was responsible for her actions back home in France, which led to the execution of the Marquis de St. Cyr and his family. But by placing the blame on Fate, an all-powerful mythical entity, Marguerite can avoid the guilt she feels.
In Chapter 30, after Marguerite finally takes full responsibility for her actions and seeks to atone for them, Orczy implies that Fate has actually been on the side of the Scarlet Pimpernel all along:
It really seemed as if some potent Fate watched over that daring Scarlet Pimpernel, and his astute enemy almost felt a superstitious shudder pass through him, as he looked round at the towering cliffs, and the loneliness of this outlying coast.
In this passage, Chauvelin almost feels "a superstitious shudder" at the realization that the Scarlet Pimpernel has slipped through his fingers once again. The Scarlet Pimpernel's luck, to Chauvelin, appears almost supernatural.
In Chapter 31, after Sir Percy and Marguerite have successfully escaped Chauvelin, Sir Percy also expresses his opinion that Fate is on his side:
"I thought that Fate and I were going to work together after all."
By having the forces of fate align to aid Sir Percy, Orczy implies that his mission, as well as the superiority of the English aristocracy, is somehow divinely sanctioned.
At multiple points throughout The Scarlet Pimpernel, characters demonstrate superhuman strength or endurance, usually during periods of intense emotion. Orczy uses vivid tactile imagery in these passages, which emphasizes her characters' physical stress.
In Chapter 28, as Marguerite races to the Père Blanchard's hut to warn Sir Percy about Chauvelin's trap, she exhibits an unusual level of endurance:
She felt neither soreness nor weariness; indomitable will to reach her husband in spite of adverse Fate, and of a cunning enemy, killed all sense of bodily pain within her, and rendered her instincts doubly acute.
Marguerite's feet ache from walking, and she is fatigued from lack of sleep, but she nevertheless manages to persevere through sheer force of will. This conviction reflects her enduring loyalty to her husband, which supersedes any physical exhaustion.
Later, in Chapter 31, Sir Percy is able to overcome severe physical injuries in order to carry Marguerite to safety:
All his fatigue was forgotten; his shoulders must have been very sore, for the soldiers had hit hard, but the man’s muscles seemed made of steel, and his energy was almost supernatural. It was a weary tramp, half a league along the stony side of the cliffs, but never for a moment did his courage give way or his muscles yield to fatigue.
In this passage, Orczy portrays Sir Percy's "energy" as "almost supernatural," which aligns with other descriptions that characterize him as an ideal man and the epitome of integrity and heroism. By depicting Sir Percy as superhuman, Orczy also emphasizes her belief in the inherent superiority of the English aristocracy.
