The Wizard (novel)

Thomas Owen: preacher who goes to Sons of Fire to convert them to Christianity

Deputation: missionary who came to speak to Rev. Owen's congregation about the importance of converting savage tribes – went to the Sons of Fire and his partner was killed

Hokosa: Chief of the Wizards and first prophet of King Umsuka

Umsuka: King and father of Hafela and Nodwengo

John: converted native of the People of Fire who helps Rev. Owen

Prince Nodwengo: half brother of Hafela, son of Umsuka, eventually becomes King

Hafela: son of Umsuka who tries to kill him to gain the thrown and is then exiled

Noma: the love of Hafela and Hokosa, Hafela gives her back to Hokosa in exchange for the rights to the throne – which he does not get

Council of Wizards: group of the elite in the tribe who have “magical powers” and are the only ones who can survive lightning from their lightning god

People of Fire: tribe of Amasuka

Haggard was an English writer of adventure novels set in predominantly Africa. He was also involved in agricultural reform throughout the British Empire. His stories, sited at the end of Victorian literature, continue to be prevalent and important.

In 1875, Haggard's father sent him to South Africa to take up a position as the secretary to Sir Henry Bulwer, Lieutenant Governor of the Colony of Natal. Three of his books, The Wizard (1896), Elissa: The Doom of Zimbabwe (1899), and Black Heart and White Heart: A Zulu Idyll (1900), are dedicated to Burnham's daughter, Nada, the first white child born in Bulawayo and was named after Haggard's 1892 book Nada the Lily. In addition, Haggard helped to establish British control over the Boer republic as well as raise the Union flag over the capital, Pretoria, in May 1877. Many critiques claim there is a heavy emphasis on South African race relations and on the large number of native authors in that region.[4] According to Rebecca Stott, “The penetration of Africa in Haggard’s novels is a way for the male characters to prove their strength, virility and manliness.” During the late 9th century, public attention had focused much of its time to Africa. Furthermore, she explains that Haggard's literary career began in the 1880s when public interest in Africa had reached a peak and when he himself had just returned from six years of public service in South Africa.[5]

The Wizard was first published in 1896 in London.[6]

The Wizard is a strong example of the adventure romance that was popular at the end of the 19th century, while still being very prevalent today. Adventure romance is a subgenre of the romance genre. They are often characterized with romantic suspense featuring strong heroes and fast-moving plots. In 19th century British literature, adventure romance typically takes place in a foreign space, usually a colonial enterprise of the British empire. This novel has some significant developmental effects on the development of the adventure novel as well. For example, Reverend Owen's movement from England to south central Africa is common in the adventure novel. In addition, H. Rider Haggard has been credited with the invention of the romance genre by many critiques.

This novel is also an example of the imperial adventure novel, which is evident from the colonialism and its effect on the novel. The idea of missionary work that was very prevalent in the 19th century shapes some of the major themes of the novel through the lens of the imperial adventure novel. Critiques such as Richard F. Patteson explain that the imperialist adventure novel involves exploration of uncharted regions by Europeans, which is essentially what this novel portrays.

Colonial imperialism in the British Empire is prevalent through the idea that Christianity can be used to convert the colonies under England and make them more “civilized,” in other words, more British. New imperialism began in the last quarter of the 19th century when there was further expansion of British power, particularly in Africa and there was more emphasis on English forms of civilization. This new imperialism became known as the “British view of the world.” According to Richard F. Patteson, author of the article “Manhood and Misogyny in the Imperialist Romance,” the imperialist romance flourished between 1880 and 1920 and, “is essentially and adventure story involving the exploration by Europeans of previously uncharted regions.” He further claims that H. Rider Haggard first popularized this theme of imperialism in the form of romance and ultimately established a degree of influence.[7] This theme is seen in the novel in Reverend Owen's mission to convert the People of Fire to Christianity. He travels to a foreign place, which is also an African region of the British empire, in an effort to spread the word of the Christian God. This establishes the idea of new imperialism through the lens of the "British view of the world" by attempting to bring British values to foreign lands.

Pastors from Britain completed the missionary work done in Africa during the 19th century, for the most part. They would seek to change the tribes “savage ways,” which in turn brought up the racism that is an underlying theme in many of Haggard's novels. The idea of the Christian God as the ultimate God and the idolatry seen in the novel underlies the theme of this missionary work. For example, the People of Fire idolatrize a rock and lightning, but Reverend Thomas Owen conquers this idolatry in the First and Second Trial by Fire, therefore proving that his God was the greatest and could conquer all. According to critique Richer Patteson, “The Europeans' goals are usually ambivalent: the intention to convert the heathen or establish a benevolent order is frequently associated with an equally strong desire for wealth and power. Often the white men stumble upon ruins of an ancient civilization (presumed to be white), and just as often, they encounter two native factions – one "barbarous," the other willing to be "civilized" by the European visitors.”[8]

The character Noma is an example of the New Woman and the idea that Haggard consistently portrays in many of his novels that in order to prevail in society, the New Woman must be stopped and then taught that her actions are not moral or correct. In late-Victorian Britain, women and womanhood was beneath manhood and were “seen, not heard.” Noma seems to be the opposite of what a typical woman during this time period would be. She worshiped power and sought to become the most powerful by attempting to seduce two men (Hokosa and Hafela). Ultimately, however, this power struggle was her downfall that is a common trend in Haggard's novels. Haggard traditionally seemed to dislike women in power, so this downfall of Noma is seemingly typical of the novel.

In addition, Noma's sex appeal is a theme that can be associated with the idea of the New Woman. She successfully seduces two men in the novel, both of which hold a position of power. Not only does she wish to obtain this power, but she is also attracted to sorcery and magic. Because this is her downfall, Haggard defeats the “New Woman ideal”.

According to Patteson, “Female characters appear in all genres of popular literature, but the roles they are assigned seldom present women in a very favorable light. With the exception of the sentimental romance or "love story" - a form specifically aimed at a female audience - women do not usually figure as protagonists. Instead their function is to support, or to foil, the actions of male heroes in a variety of ways. Women are identified with the earth, while the men who bring light to various dark continents are linked to the sun, moon, and stars. Nearly every imperialist romance includes the hero's descent into a womb-like cave or mine shaft from which he usually escapes by summoning his "masculine" inner resources - courage, self-control, and ingenuity. One of the greatest dangers frequently faced by the explorers is power in the hands of a woman. This power is characteristically wielded through a combination of sexual enticement and maternal possessiveness. The fear and hatred of women evident everywhere in the imperialist romance can be explained partially, at least, by the imperialists' hunger for domination. Victorian imperialism was a masculine imperative. The most common complaint against women in the imperialist romance is their interference between friends. Not infrequently male friends are said to be bound by "'a love passing the love of a woman."'12 Women threaten such friendships, and marriage is presented as a betrayal of male camaraderie.”[9] In addition, Rebecca Stott claims that the “impulse” to draw away the veil from the woman is uncontrollable and that it must be confronted.[10] According to Patricia Murphy, author of the article “The Gendering of History in She,” the New Woman is another manifestation of all women, whose dangerous effects upon men replicate those of her mythic counterparts. She explains that discourse on time play an important role in the construction of gender positions in late-century novels responding to the New Woman, such as Haggard's novels.[11]