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Throughout the novel, nature and the beauty of the natural world is a motif illustrating important contrasts and juxtapositions, such as those between the Indigenous people and the Europeans, and even between different periods in Diego’s life. Throughout the novel, various characters marvel at the beauty of the natural world. Alejandro is “awed by the magnificence of nature” (20) as he travels to Monterey to plead on behalf of Regina. Later, Diego and Bernardo spend much of their childhood exploring the countryside around the de la Vega hacienda, especially the sacred Indigenous caves. The natural world comes to represent the untouched beauty of a world disappearing beneath the onslaught of European colonialism as the Spanish settlers continue expanding their holdings and pushing the Indigenous people into increasingly distant locales.
When Diego and Bernardo reach Spain, the presence of the natural world recedes and is replaced by sprawling cities such as Barcelona, “proud and massive against a leaden sky accented with turrets, towers, and walls” (110). But Diego ultimately returns to where began his life, always appreciating the different manifestations of the natural world that he encounters along the way, from the green landscapes of northern Spain to the enchanting swamps of the bayou. Above all, however, it is the natural beauty of California that symbolizes Diego's desire to protect a world endangered by the greed and injustice of the Europeans.
Animals surface throughout the novel, symbolizing the relationship between human beings and nature as well as specific attributes of the various characters. Most obviously, the protagonist Diego will become Zorro, the fox, in a reference to the spirit guide he discovered in a boyhood vision in which a fox appeared to him “like a watchful spirit” (77). Similarly, Diego's friend Bernardo takes the horse as his spirit guide and cultivates its attributes of “loyalty, strength, and endurance” (76). Later, Bernardo even gives the horse he saw in his initiation, Tornado, as a gift to Diego.
Animals are important even from before this, indeed from the very beginning of the novel. Diego’s mother Regina is originally Toypurnia, “Daughter-of-Wolf,” who leads the Indigenous insurrection while clad in a wolfskin. And Diego’s grandmother, of course, is White Owl, a shaman who embodies the wisdom of the owl. Even more minor characters are associated with animals, like the flamboyant Jean Lafitte, often in the company of his colorful parrot. Animals become one of Allende’s important characterization tools.
The darkness and shadows that attend the persona Zorro are an important motif in the novel and often relate to the theme of justice. Diego and Bernardo spend much of their childhood exploring the sacred Indigenous caves around the de la Vega hacienda and find that the caves lead into the living room of Diego’s home. Diego even learns through his initiation that the cave is his home and that, like the fox, he will “hide by day and act by night” (80). Sure enough, it is through the caves that Diego will later infiltrate the de la Vega hacienda when it has been confiscated by his enemy Moncada.
Diego uses darkness to his advantage when he fights for justice as Zorro. But darkness can also symbolize oppression. Wherever Diego goes, he must face grim structures that symbolize European oppression: in Barcelona, the “sinister” La Ciudadela fort (111), the impregnable stronghold where prisoners are kept; in California, the “dreaded” (329) El Diablo prison, the “hell” (331) where Moncada and Carlos Alcázar keep the Indigenous people they use as slave labor in the pearl trade. Diego, however, learns to use the darkness to fight for justice, and at the end of the novel he emerges from the shadows of his caves to rescue those unjustly imprisoned in the shadows of El Diablo.
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By Isabel Allende
Action & Adventure
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Books on Justice & Injustice
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Challenging Authority
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Class
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Class
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Hispanic & Latinx American Literature
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Magical Realism
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Power
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Romance
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Spanish Literature
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