A classic of swashbuckling adventure, The Prisoner of Zenda gave name to a subgenre called Ruritanian romances: set in a fictional country, usually in Central or Eastern Europe, these are typically swashbuckling adventure novels, tales of high romance and intrigue, centered on the ruling classes, almost always aristocracy and royalty. Ruritania, of course, is the name of the kingdom where The Prisoner of Zenda takes place.

The King of Ruritania is drugged on the eve of his coronation and thus is unable to attend the ceremony. Political forces within the realm are such that, in order for the king to retain the crown, his coronation must proceed. Fortuitously, an English gentleman on holiday in Ruritania who resembles the monarch is persuaded to act as his political decoy in an effort to save the unstable political situation of the interregnum.

This book is light and silly, but fun. It has romance, heroism, sword fights, dashing rescues... It's short and a quick read, narrated in first person by the daring Englishman who pretends to be the kidnapped king in order to save the throne.

It's maybe not as good as I would have hoped, based on its fame. When it started, I found the narrator funny and snarky, but this comedy element was side-lined once the adventure started. The adventure is kind of silly, in the sense that neither the heroes nor the villains are the brightest bulbs, but that was easy to accept for me, because I expected a light adventure rather than serious political intrigue, and that's what I got.

One thing I didn't like is that the experience of pretending to be the king is kind of glossed over. We don't really see much of the court, and it feels like the main character is most of the time with only his two Ruritanian companions.

Don't expect much of the romantic subplot. This is an adventure novel, not romance, and what we get is basically love at first sight to add to the plot.

Despite all that, there is an energy and verve to the story that makes it fun to read.

I have never made a hobby of looking for homoeotic undertones in fiction, but I have to say that the main character has something of a man crush on Rupert of Hentzau, the dashing daredevil who is one of the main henchmen of the villain of the story.

Goodreads informs us that this is the second book in a trilogy. Forget that. The supposed book 1, The Heart of Princess Osra, is a collection of stories that have nothing to do with The Prisoner of Zenda other than being set in Ruritania a century earlier. It's not necessary to read it. The Prisoner of Zenda works well as a standalone, and if you want more you should read the sequel, Rupert of Hentzau, since at least it's about the same characters, and not The Heart of Princess Osra. ( )

A classic and beloved story reworked into radio and movie versions several times. ( )

https://fromtheheartofeurope.eu/the-prisoner-of-zenda-by-anthony-hope-the-androi...

In case you don’t know, the story concerns one Rudolf Rassendyll, a minor English aristocrat, who visits the central European kingdom of Ruritania only to discover that he is an exact double of the new king. The new king gets drugged and kidnapped by his half-brother, who is scheming to take the throne, and Rudolf is co-opted to pretend to be the monarch, through the coronation, and courting the lovely princess Flavia. There’s lots of exciting sword-fighting and derring-do, especially around the castle of Zenda where the real king is being held, and the half-brother’s henchmen include an evil Belgian. It’s a slightly deeper book than most readers may think, with reflections on dynastic duty and honour, and it’s a cracking good and short read. ( )

Originally posted at Dream Maps.

Reviewers often use the phrase "cinematic" to describe high-concept stories with with choreographed action sequences, stock characters, and a loosey-goosey approach to plot. This 1894 classic is a reminder that such storytelling elements predated, and presumably shaped, cinema.

Zenda is an absolutely stupid novel, but in a good way. Hope leans the heck into his premise of an English flâneur* with royal blood who blunders into a Central European dynastic squabble and ends up impersonating the young King for Reasons (they are definitely identical, no one can tell them apart at all, after all the King just shaved his beard and who even knew what he looked like under there). Many implausible hijinks ensue, but we roll with it, because this book is undeniably a compelling read.

It is is a little less high-octane than I expected, perhaps because of its publication date. Our hero is passive at key moments. The ostensible villain is mostly off-screen, so he hardly ever gets to twirl his mustache at us. Still, the author excels at getting into the psychology of his (cartoonish) heroes and their internal struggles—DUTY versus DESIRE, as exemplified by the choice between serving the imprisoned King and following their own hearts. The romance arc is mostly hollow but there are some beautifully maudlin moments near the end. None of it has any nuance, but it is done well and with a lighter touch than might be expected.

Anthony Hope does not seem to believe that women are people. If I had the book in front of me I would quote some a few of the choicer passages, but instead I will leave the reader the pleasure of discovering them. The author is particularly fond of making off the cuff generalizations about women that he delivers with an avuncular air. Generally I am skeptical about claims that media portrayals cause sexism—more often I think they reinforce the sexism that's already there—but I 100% believe that some dumbass teenager in 1900 was shitty to his girlfriend because Anthony Hope wrote a book.

The politics of Zenda are equally unpleasant. Only an Englishman in 1894 could have written this novel. The project of the book is fascinatingly ambivalent, equally a send-up of pre-modern, divine-right Habsburg politics and a portrait of a duty-bound Brit who is nevertheless willing to sacrifice his life to restore the Rightful King to his throne, mostly out of a sense of schoolboy decency.

When read in light of the events of 1914 and afterward, it is an appalling book. Anthony Hope portrays the contradictions inherent in turn-of-the-century European politics, but he does not reckon with them. The novel's resolution is a return to the political status quo. Even by the standards of light adventure fiction, Hope is profoundly uninterested in his setting or in the concerns of ordinary people. The battle for the crown is a battle without stakes. If the "Ruritanian romance" has a legacy, maybe it is one of inventing unreal landscapes for solipsistic heroes to play at war.

That said, if anyone has written a Ruritania novel set during the First or Second World Wars I would read the hell out of it.

Now that I've ripped this poor book to shreds - should you read it? Absolutely, if you like old-fashioned adventure yarns or are interested in it as a social document. I may even read the other books Hope wrote in this setting, because it's a fun little novel and I want badly to believe that the worldbuilding gets more interesting.

*It's in my contract - when the word "flâneur" can be used, it must be used. ( )

The original Ruritanian romance, and I’m not impressed. The story left me uninterested in the characters and the action was unimpressive. ( )