( ê€ )â a meta + graphics hub. please do not copy anything here, and give credit if you take inspiration. directory below.
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( ê€ )â a meta + graphics hub. please do not copy anything here, and give credit if you take inspiration. directory below.
tba.

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Âč đ .. ( ê€ )â WHAT SOFT ROMANCE CLICHĂ ARE YOU ?
LOVE AT FIRST SIGHT. Let's be real, only children believe in "love at first sight." But you're a hopeless romantic probably sitting around in coffee shops waiting to meet "the one." And there is absolutely nothing wrong with that. Infatuation at first sight is more accurate. You are the moment when two people lock eyes, and the whole world stills. Nothing is there but you and them. And there is suddenly a strong sense of longing. You love love, don't deny it. Flowers, chocolates, the whole nine yards. Because of this you are loved by many. Hopefully you know it too: you are loved.
Âč đ. .. ( ê€ )â MARGUERITE AND MORALITY, PART II: The Events of the Novel.
In the previous part of this meta, I discussed and explained Margueriteâs circumstances and motivations when it came to her involvement in the Marquis de St. Cyrâs death, and to say that it sent her on a bit of a spiral would be an understatement. But if she was just barely holding on after the St. Cyr incident, then Chauvelinâs blackmail during the events of the novel was what broke the dam, which forces her to reevaluate not only her year-long marital estrangement and her involvement in St. Cyrâs death, but the entirety of her moral framework as she is forced to make an impossible life or death ultimatum.
This second part seeks to explore Marguerite's rationale and morality during the events of the novel, when she is given the ultimatumââeither-or?ââby Chauvelin via blackmail, leading to the discovery that Percy is the Scarlet Pimpernel. She's more shaken and unsure of herself, however, despite her guilt and pride, she ends up coming out of it all as a hero in the end.
A/N: I highly recommend reading the first part before you read the rest of this meta. While it's not required, per se, St. Cyr is crucial to Marguerite's character, morality and otherwise, and it is important context to have when looking at the events of the novel, as many of the topics that I introduce in the first part are expanded upon here.
marguerite is incredibly spiteful and she does hold grudges, however, she is also someone who believes in second chances and is more merciful than she should be at certain times tbh. she always gives people a fair amount of grace and believes that they can be redeemed, even if they donât show any indication or desire to change.
#she believes everyone is a good person unless proven wrong#itâs why she still gives chauv so much grace even after the blackmail and you know. mass executions

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Âč đ. .. ( ê€ )â THE METAMORPHOSIS: A Guide to The Scarlet Pimpernel and My Portrayal.
When it comes to the state of modern superhero fiction, Pimpernel is often credited as being one of the most influential works in the genre, bringing the idea of a hero with a dual or secret identity into the mainstream via Percy Blakeney, who used a foppish persona to keep the public off his trail as the Scarlet Pimpernel. Ultimately, however, what Pimpernel became by the end of Baroness Orczyâs life and in adaptation is completely unrecognizable when compared to the original novel, with many of the heroes that came after Pimpernel influencing its legacy in return.
This guide will be split into three parts: a brief history of Pimpernel and its author, what I think went wrong, and then my general portrayal notes. While I would usually just write a standalone post with my portrayal notes, I do believe that knowing the history of the novel and the direction it took will be beneficial in understanding how I look at the story and handle Margueriteâs character specifically. Thereâs a lot about the Pimpernel sequels, adaptations, and even parts of the original novel that I take issue with, and often, the storyâs pitfalls outweigh its good moments. My portrayal is nearly entirely canon divergent; for all intents and purposes, feel free to consider my portrayal of Marguerite to be an oc if you so please. I do not like Baroness Orczy, and Pimpernel is in the public domain. She will not care if I mess with her story and characters.
â The notion of unlikely heroes finding hidden reserves of courage is as old as the Frog Prince... or David and Goliath. But [Baroness] Orczy introduced a new idea into the collective consciousness: a heroic figure who creates a lounging, foppish alter ego to hide his (or her) heroic nature. It was as if Orczy saw that the Age of Heroism was over, and that the 20th century would be controlled by bureaucrats and small men. For the hero to survive, he would have to hide behind a mild mannered mask. â â Peter Royston.
UPDATED AS OF: 10th September 2025.
Âč đ. .. àŒș MISC METAS: Marguerite and People. àŒ»
There is a lot when it comes to Marguerite's character that I have either mentioned or briefly touched on in the past, but never really had to examine in more depth due to them not really constituting either a large meta post or a one off ramble sprinkled between writing. In particular, I've mentioned Marguerite's views on people and her general relationships in passing before, however, I thought it was time to give the topic a more in depth look given how important these are to both her character in the novel and to how I write her. The bonds (or lack thereof) that Marguerite forms throughout her life fundamentally shape who she is, and her several years in the public spotlight have led her to be able to read people quite well, though, many times, she remains oblivious to any dubious intent due to her belief in their inherent goodness.
For starters, Marguerite had both a relatively sheltered and disjointed childhood. Her parents died when she was a child, and she was raised from that point onward by her older brother, Armand, who she often saw more as a father figure than a brother. Additionally, she did not have many opportunities to make friends, given that she moved around a lot before settling in Paris. Her only friend for a majority of her life was Suzanne de Tournay, and she was often excluded and teased by some of the other girls at the convent school. All of these circumstances lead to her sudden fame to be very disorienting for her, not only because she was only seventeen-eighteen, but also because she was going from one extreme to anotherâa lonely, sheltered childhood to being Paris' darling in the public spotlight.
As Marguerite grows older and grows accustomed to the public spotlight, however, she becomes both extremely wary of people and their intentions and makes an effort to maintain some kind of distance between herself and whoever she is speaking to. While I've already written about others' perceptions of her in the identity meta, how Marguerite handles it... varies. She does not fall for any kind of superficial charm, and any kind of disingenuity or deceit turns her off. There may be some light banter and perhaps a somewhat deep conversation about politics if it ever gets that far, but that's all the average person is really going to get from her. While she does maintain a front of cordiality, it always feels just slightly off and fake, and it's often these aspects combined that end up drawing people away from her as well; once people, specifically men, realize that she will not be useful in some way to them, she is discarded. Furthermore, Marguerite can be quite blunt at times, and often, in the words of the 1982 film, â[her] heart too often guides [her] head.â
Orczy describes Marguerite as being like a comet; a sight that people are drawn to and unable to look away from. Contrary to popular consensus, I tend to lean towards Marguerite being more introverted. She is naturally charismatic and can handle herself in social situations, yes, but she feels more comfortable when she is alone or with people she trusts (see: the narration at the beginning of chapter 8, where Orczy describes Margot as feeling 'freer' when alone). When she's younger, she doesn't notice how people perceive her, and if she does, she doesn't have the words to articulate it. Despite this, she craves meaningful connections with people and wants to be well-liked by people around her, and she will often go out of her way to ensure that she makes a good first impression on whoever she is speaking to. It takes time to develop, however, by the time the events of the novel roll around, she is easily able to play off people with her quick, sharp wit and intuition. When you take into account that she's also quite beautiful, it doesn't take too much to understand why she's so intriguing.
A lot of the tactics she uses backfire, however, as Marguerite often puts others' needs and desires before her own, hoping that by diluting herself and conforming to others' perception of her, that she will be liked and 'useful' to them again. Many of her so called 'friends' throughout her life are superficial because of this, and they don't care to look deeper than surface level, leaving her with no one to confide in when she eventually moves to England after her marriage.
Still, Marguerite is naive and ultimately believes that people are inherently good, and when people actually put in the effort to beguile her, she's often none the wiser to any ill intentions. The most notable occurrence of this in the novel is when Marguerite reunites with Chauvelin; she greets him warmly, and opens up about her marriage and discontent with her life in England, not once assuming that he could possibly try and force her hand into doing his dirty work:
Marguerite said nothing for a moment or two, as she surveyed with obvious delight the not very prepossessing little figure before her. Chauvelin was then nearer forty than thirtyâa clever, shrewd-looking personality, with a curious fox-like expression in the deep, sunken eyes. He was the same stranger who an hour or two previously had joined Mr. Jellyband in a friendly glass of wine. âChauvelin . . . my friend . . .â said Marguerite, with a pretty little sigh of satisfaction. âI am mightily pleased to see you.â No doubt poor Marguerite St. Just, lonely in the midst of her grandeur, and of her starchy friends, was happy to see a face that brought back memories of that happy time in Paris, when she reignedâa queenâover the intellectual coterie of the Rue de Richelieu. She did not notice the sarcastic little smile, however, that hovered round the thin lips of Chauvelin.
On that note, when Marguerite loves someone, she loves them fiercely. She truly does care for others and only wants the best for them, even if they are just an acquaintance. The most extreme example of this is when she travels to Calais during the climax of the novel to try and rescue Percy, but this also manifests in smaller ways, such as putting in a good word, doing favors/giving gifts, or just offering a shoulder to cry on and being someone to confide in. She knows how horrible it feels to feel alone, and so she doesn't want that for anyone else. In many cases, however, she's empathetic to a fault, leading her to being easily manipulated by others. That is not to say that Marguerite is entirely selflessâin fact, she actually has a tendency to be selfish and safeguard her own feelings and happiness first, however, when push comes to shove and the situation turns for the worse, she will always put others before herself.
One aspect of the sequels that I particularly abhor is how Orczy tends to take Marguerite's love and selflessness and try to twist it into something possessive or overbearing, painting her in a bad light and making Percy look better by comparison. She is portrayed as being entirely selfish because she does not understand Percy's 'duty' as the Pimpernel and whines that she is not his only priority, while also begging him not to go to France. Not only is this, firstly, a completely reasonable thing to be upset about, given that Percy is quite literally risking his life, but it's also entirely out of character from the Marguerite we see in the original novel. Yes, Marguerite is prideful and has a tendency to be selfish, but all of the emotional distress she endures during the novel is because several of her loved ones are put in horrific circumstances. To call her love for them selfish or possessive is just a disservice to her entire character, and undermines her motivations throughout the first novel; everything she does is for the people she loves.
In conclusion: while Marguerite holds the belief that all people are inherently good, she is often wary of people's intentions and tries to maintain some amount of distance, especially while keeping up public appearances. Still, she is naive and craves meaningful connections with others above all else, so after a fair amount of assessment, she may finally let her guard down. While this does leave her vulnerable to manipulation, seeing a calmer, more mellow Marguerite is the ultimate sign of trust. If this ever happens, that's how you know you've made it into her close knit circle of confidantsâthere are very few, but they are there.
This somewhat relates to two of my previous posts talking about Pimpernel's legacy when it comes to how it's handled in adaptation and its place in modern superhero canon, but I feel that because there's this solidified idea of what superhero and superhero adjacent media should be that Pimpernel suffers in adaptation because of this. So often is Pimpernel associated with the swashbuckling, sword-fighting, and sweeping kisses that many of its adaptations include when that's not really what Pimpernel the novel is about.
Pimpernel the novel is, at its heart, a mystery story. It's a story about who the Scarlet Pimpernel is rather than what he does or the supposed adventures he takes on. In fact, Percy is actually absent for a large majority of the novel, with the emotional journey of Marguerite taking center stage instead. All of his major appearances in the novel serve to progress her story arc, and really, I find her character arc to be more interesting and intriguing than the mystery of the Pimpernel's identity. As much as the novel is about a vigilante saving innocents from their unjust deaths, it's also about a woman coming into her own and finding her footing in life after the rug was pulled out from under her. She's disjointed, she's off-kilter, but she's sympathetic nonetheless, and ultimately, I'd consider her to be the novel's true hero.
But a mystery does not work when that becomes the entire selling point of the story in subsequent years. With Percy's dual identity as the Pimpernel being known to the audience instantly, he begins to take on a larger role in the narrativeâthe audience sees the exact adventures that had only been reiterated through dialogue after the fact in the novel, we are able to follow him through his day to day life, he is given more character and depth, and ultimately, he becomes more sympathetic. Even Orczy herself would change how she writes Pimpernel in its subsequent sequels, with many of them focusing on Percy's adventures a la the rise of pulp heroes inspired by Percy like Zorro. This all comes at a cost, however, which just so happens to be Marguerite's character and her story arc.
Writers appear to balance the two well at first, with the 1934 film both respecting Marguerite's character and her story arc while also including Percy into the narrative in a meaningful, but not intrusive way. As superheroes such as Superman and Batmanâthe latter of which taking notable inspiration from Percyâwould enter the public spotllight, the way writers treated Pimpernel as a story would change. I feel like most adaptations try to overcompensate for the fact that Pimpernel is not written like the typical superhero story, that the audience will be disinterested if the story were to be adapted as it was written. Thus, we enter what I like to consider the birth of the modern Pimpernel story-structure: there's not enough action and flashiness? Focus more on the grandiosity of Percy's adventures. There needs to be a fight between the hero and the villain? Include a swordfight. We need more romance but not in the slow-burn somewhat infuriating way as seen in the novel but in the kind of typical 80s, somewhat horny way? Make Percy and Marguerite into the typical macho man saves the damsel in distress type relationship. This pattern begins with the 1982 film, and continues with both the 1997 musical and its other iterations, as well as the 1999 BBC minseries, which completely turns Percy into a Batman-esque grimdark caricature of his novel counterpart. To no surprise, Marguerite's character once again suffers for these decisions. She is stripped of all of her agency and, most of the time, is treated as solely being Percy's love interest, when it was actually the inverse in the novel. All of her potential is wasted, and both she and Percy become the vessel to which writers can live their macho fantasies through. This is not helped by the fact that many adaptations invent a former love affair between her and the villain, Citizen Chauvelin, adding superficial stakes to the story while simultaneously watering Marguerite's character down even more.
Pimpernel today is in an interesting spot. Marguerite and Percy are fighting for the title of the story's protagonist, and while there are many who advocate for Marguerite's story to take precedence over Percy's once again, the Zorro-esque swashbuckling imagery is often too engrained into Pimpernel's modern pop culture image. Ultimately, I believe that the only way Marguerite's character can be done justice properly is to re-examine Pimpernel from only its source material; directors need to ditch the pulpy, swashbuckling and superhero-influenced image of the story in order to truly do something novel with the material and look at it with fresh, objective eyes. While Percy should, ultimately, have a larger role in the narrative, writers need to respect Marguerite as a character enough to let her exist in her own right and allow her actions to hold just as much weight in the narrative as Percy's. That's not to say that I'm against writers taking inspiration from contemporary superhero works when it comes to Pimpernel, but they need to be careful in how they're handled, as too much influence leads to... all of the above.
àŒșđ©âĄđȘàŒ»â WHO IS THE SCARLET PIMPERNEL? â there was no prince in this world to begin with ..
Catherynne M. Valente, Deathless / 2. Revolutionary Girl Utena, âThe Rose Crestâ / 3. Mary Oliver, The Moth / 4. AndrĂ© Malraux's speech at the FĂȘtes Jeanne d'Arc, 1964 / 5. The Verve, Bitter Sweet Symphony / 6. Roar, Drama Queen / 7. Angela Carter, The Bloody Chamber / 8. Anne Carson, Grief Lessons / 9. The Scarlet Pimpernel Script, Nan Knighton and Frank Wildhorn / 10. Jean Seberg as Joan of Arc, Saint Joan (1957) / 11. Revolutionary Girl Utena, âEnd of the Worldâ / 12. The Mabel Podcast, âUnderworldâ / 13. Revolutionary Girl Utena, âAnd Someday, Tomorrow, We'll Shine.â
Âč đ. .. ( ê€ )â MARGUERITE AND PERCY: The Analysis of a Relationship.
When it comes to the overarching narrative of the novel, nothing holds as much weight as the relationship between Marguerite and Percy. Their relationship is at the crux of the novel, being the foundation of mostâif not allâof the conflicts throughout the story. While many adaptations keep their relationship at the center of the story, many seem to completely miss the mark, rewriting many parts of their dynamic (specifically Margueriteâs role in it), diminishing the impact of many of the novelâs key moments as a result.
A few things of note before beginning:
Much of this is conjecture and my own interpretation based on what is given to us in the text. While Iâve spoken about their actual relationship in the novel to death at this point, Orczy does not actually give us much backstory when it comes to how they met or any other specifics, just a general timeline of events. As annoying as this may be, I do enjoy the freedom it gives me when it comes to this dynamic specifically.
Orczyâs continuity throughout the book series is flaky at best and entirely contradictory or nonsensical at worst. For clarificationâs sake, I am only taking what little backstory is given in the original novel into account, and am not including any additional information from the sequels or other extraneous Pimpernel media. Somewhat of a given at this point, but I feel like the clarification is still helpful.
Additionally, there is a lot to Percy and Margueriteâs dynamic that I am omitting for the sake of brevity. Iâm not sure if I could ever write a meta that would be able to convey my thoughts on their dynamic in a concise and satisfactory way. However, this (hopefully) gets all of the main ideas down well and possibly allows me to expand upon this analysis at a later point if necessary.

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Âč đ. .. ( ê€ )â MARGUERITE'S APPEARANCE, PART I: Physique.
One aspect of Marguerite's character that she is extremely particular about is her appearance. While she is not vain but any means, she meticulously curates her physique and wardrobe to fit whatever occasion is presented, all in the name of keeping up public appearances. Given that I don't tend to follow Orczy's descriptors when it comes to Marguerite's appearance, I thought it useful to make a post where I dump all of my thoughts regarding how I view her, both through physicality and through her fashion and how it is influenced by the period.
A/N: This is more of an informal meta meant to be used as a general reference rather than an analytical piece. Hence, I did write this on the fly instead of being as thorough as I usually am. If this is all over the place, that is why. Furthermore, this meta was inspired by my friend @vasilievna / @coefficience. All credit goes to them for both the idea and some of the formatting.
I'm realizing now I've never really talked about the Proust motifs and inspirations despite me considering them to be very integral parts of my portrayal and I think part of that is just because temps perdu is so, so long and I've yet to digest a lot of the academic stuff about it yet (like that one essay by Beckett), however, the main takeaway is that Proust's belief in memory as a gateway to the past is extremely important to my portrayal. Marguerite is someone who is not fully in the present, who is so concerned with the past that she often becomes lost in it. Always so consumed by hypotheticals that she can't fully accept that she just needs to keep living and accept that, well... the past is the past and that can't be changed. She views her childhood specifically with rose-tinted glasses, and the fact that she cannot remember that time in her life makes her feel as though she's lost a part of herself and that she needs to go searching for it once again (not unlike the protagonist in temps perdu prior to the famous madeleine episode). Proust's belief in involuntary memory â memory being evoked by senses rather than conscious thought/effort â also comes into play, however, unlike the protagonist in Proust's epic, Marguerite doesn't exactly find what she's looking for out of it.
In spite of his skepticism, then, Proustâs narrator really does seem to think that all these varied experiences, including these impressions, add up to a vision of the world that is shared, follows general rules, and is thus, at least to a degree, subject to philosophical thinking. These varied experiences are linked not just by an explicit comparison, but through the form of his narrative quest in which the clues eventually lead to success: time regained. (Proust's Conciousness, pg. 221.
There's this one section in this essay on the philosophy of the novel, specifically concerning Proust's thoughts on time and memory, that really sticks out to me re: Marguerite and memory:
Simply having the impressions is not enough, and they donât offer a simple mechanism for artistic success. There is a need to respond to them appropriately, to âextractâ the truth from them, he insists, and this is why the task of the author is also the task of a translator. Moreover, response is an emergent complex process that depends on his state as he responds to the impressions. It also depends on the state of the future reader, who may or may not respond to the visions that Proustâs narrative offers. (...) The only thing the narrator does get right a lot of the time is a hypersensitivity to the failure of his interior state to adapt to the exterior changes, a mismatch of states in which the exterior state changes more rapidly than the interior one. [...] Sometimes, the failure of the self to adapt to the world is all too apparent. Other times, the narratorâs interior transitions of state occur imperceptibly as he transitions, without conscious awareness, from remembering to forgetting, waking to sleep, or love to indifference. The hallmark of the impressions, by contrast, is a momentary connection between self and world in which both states seem to allow the emergence of complexity. [...] Interior state and exterior state resonate together, creating a significant moment. From a simple madeleine, Combray emerges in all its three-dimensional complexity. The pink hawthornsâin their unusual colorâoffer a glimpse of a world that appears almost human, like society ladies in their finery. All of these experiences offer an impression in which sensationâtaste, odor, color, or toneâconnects the narrator to a state outside himself, and both states together create a unique emergent experience. The quality of this experience, moreover, seems crucial to accessing this connection. (Proust's Conciousness, pg. 228-230).
Marguerite is someone who relies on routine, who keeps herself in check through it. This applies not only to her own everyday life, but to her environment as well. It's why she's so staunchly a believer in fatalism; the belief that everything is pre-determined and that time, most importantly, is linear brings her comfort, which is what is most important to her. Ultimately, in the process, she gives her memories and the past a little too much power over her life, and one of her primary obstacles in post-canon is to overcome this hurdle that has been looming over her for her entire life and accept that, in true Proustian fashion, that time and her memories are ultimately more abstract than she would have hoped.
ÂČ đ. .. ( ê€ )â THAT DEMMED, ELUSIVE PIMPERNEL: Roleswap / Pimpernel Marguerite verse.
Beginning shortly after the death of the Marquis de St. Cyr, this verse seeks to explore the question of: âwhat if Marguerite became the Scarlet Pimpernel instead of Percy?â Motivated by her guilt and her desire for repentance, Marguerite decides to take action and do what's right, saving innocents from the guillotine as the bloodshed in Paris begins to rise to an egregious point. Vigilantism isn't all it's cut out to be, however, and following her disastrous wedding night and the person she loves seemingly turning on her for good, the original goal of the Pimpernel mantra appears to be lost. Saving innocents turns into an outlet for self-destruction, and it isn't until her brother is arrested by the new revolutionary government that her outlet on life, morality, and the Pimpernel shifts once again.
NOTES: This entire roleswap/Pimpernel Marguerite verse is just one part of a larger project I'm working on surrounding this concept. The written-out version can be found here, but given how long this will be (and its current unfinished state), I'm hoping this will cover all of the bases in a more digestible manner. While this verse is not strictly relegated to canon era (1790s) and is very flexible, this post only covers how it affects canon era. Other variants of this verse (modern, comics, etc) to be expanded upon at a later time.
Âč đ. .. ( ê€ )â PRIMA FACIE: On Marguerite + Identity.
Having established many of the most common tropes in modern superhero media, itâs no wonder that the theme of identity is at the heart of The Scarlet Pimpernel. Sir Percy, with his dual identity as the eponymous Pimpernel, is the most obvious example, however, the way Baroness Orczy presents Marguerite to the reader throughout the novel has always been a topic of interest for me. Despite being the novelâs protagonist, Marguerite is never straightforward or wholly honest to the reader in her inner monologue; she is constantly putting on a performance, even when she is alone, and as a result, the lines between fact and fiction become muddled.
Throughout the novel, Orczy presents Margueriteâs identity as being split between two halvesâMarguerite St. Just and Lady Blakeneyâor in other words, her real self and the version of herself that she presents to the public. With her prior background as an actress in mind, it is this âsplitâ identity that is at the root of the mystique in her narrative, as well as some of the contradictions in her character, and the theme of identity itself holds more weight in Margueriteâs narrative than any other in the novel.Â
While there is still a lot of room for growth, Margueriteâs security in her identity by the end of the novel coincides with her regaining her autonomy which she had been stripped of the entire first and second acts. Reclaiming her identity and redefining her sense of self is only one way in which she regains her autonomy, however, it is incredibly important to both her character arc and her personal growth by the end of the novel; having been defined by the words and perceptions for too long, Marguerite is finally able to accept herself for who she is, and not who she believes she is.
Âč âMarguerite St. Just had first made her dĂ©but in artistic Parisian circles, at the very moment when the greatest social upheaval the world has ever known was taking place within its very walls. Scarcely eighteen, lavishly gifted with beauty and talent, chaperoned only by a young and devoted brother, she had soon gathered round her, in her charming apartment in the Rue Richelieu, a coterie which was as brilliant as it was exclusiveâexclusive, that is to say, only from one point of view.â â CH. V, MARGUERITE.
amy bodnar as marguerite st. just in the first national tour of the scarlet pimpernel.

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Âč ( ê€ )â WHERE'S THE GIRL, SO ALIVE AND STILL ACHING FOR MORE? we had dreams that were worth dying for ..
amy bodnar as marguerite st. just in the first national tour of the scarlet pimpernel.