The Scarlet Pimpernel (musical) betrayed the Marquis de St.-Cyr, his friend, to the revolutionary government ("Wedding Dance"). Heartbroken, Percy is torn between his love for Marguerite and the knowledge of what she has done ("Prayer"). The Blakeneys' marriage grows cold. Percy determines to make amends for his friend's death by saving other innocents from the guillotine. He takes on the identity of the Scarlet Pimpernel and convinces some of his friends (subsequently called "bounders") to join him in his daring rescue attempts; Armand insists on being included ("Into the Fire"). The band pretend to be inane fops, effectively throwing off any suspicions about the
Romantic hero love interest, him or herself victimised by the hero's rebellious tendencies, with their fates intertwined for decades, sometimes from their youths to their deaths. (See Tatyana Larina, Elizabeth Bennet, Eugenie Grandet, et al.) The Romantic hero first began appearing in literature during the Romantic period, in works by such authors as Byron, Keats, Goethe, and Pushkin, and is seen in part as a response to the French Revolution. As Napoleon, the "living model of a hero", became a disappointment to many, the typical notion of the hero as upholding social order began to be challenged. Classic literary examples of the