Zofloya

Zofloya is a primary character in the novel and is eventually revealed as the antagonist. Tall and handsome man, he is described as a “Moor” , which implies that he is Muslim and likely of African ancestry. Once Zofloya catches Victoria’s eye, she notes that “when he smiled, the assemblage of his features displayed a beauty that delighted and surprised” (153). He is repeatedly praised for his intelligence, loyalty, and charisma; for the European characters who employ him, the praise of Zofloya may carry racist undertones in the sense that they find it surprising that someone of African ancestry would be handsome, elegant, and refined. While Zofloya is often widely praised, he also occupies a lower social position due to his race, religion, and employment. Victoria initially hesitates to confide in him because he is “an inferior and an infidel” (156).

Zofloya’s character is revealed more fully as the plot develops. Initially he is deferential towards Victoria and uses persuasive rhetoric to win her to his plans; for example, he argues that she is justified in murdering Berenza because “he [Berenza] had no hesitation in sacrificing to himself your young and beautiful person” (162). Over time, Zofloya becomes more assertive and dominant towards Victoria; he sternly rebukes her when she defies his instructions and gloats over the fact that she is utterly dependent on him. At one point, he even tells Victoria: “Remember, poor Victoria, that independently of me, thou canst not even breathe!” (221). Zofloya’s character development sets the stage for the eventual revelation that he is Satan. He has gradually been gaining control over Victoria so that she will eventually pledge her soul to him. In his last appearance in the novel, Zofloya gloats that “I have deceived thee throughout” (254) and is depicted as ultimately triumphant.

Berenza is an important character in the novel; he is first Victoria’s lover and then her husband. Victoria eventually murders him (with assistance from Zofloya) so that she can be free to pursue a relationship with Henriquez. Berenza is significantly older than Victoria, but he is a handsome and charismatic man: “his countenance, though serious, possessed a sweetness of expression, that riveted and delighted the eye” (59). Berenza is intellectual and analytical; he is attracted to Victoria, but he hesitates to commit to a relationship with her until he understands more about her character. Berenza shows self-control (in contrast with Victoria’s impetuosity) by waiting to begin a sexual relationship with Victoria, and he is even more hesitant about the prospect of marriage. Berenza, however, is capable of being deceived by Victoria, particularly because he wants to find evidence that she is the affectionate and tender-hearted young woman he longs for her to be. For example, after Victoria says that she loves him, Berenza “seiz[ed] wildly in his arms the artful Victoria” (99), not suspecting that she has manipulated him by playing into gendered stereotypes. Berenza’s guileless nature eventually leads to his own destruction, as he never suspects that his wife harbors adulterous desires or that she will eventually resort to poisoning him.

Henriquez is Berenza’s brother, who returns to Venice after spending time abroad. He is handsome, gallant, and deeply devoted to his beloved, Lilla. Henriquez is utterly disinterested in Victoria, not only because he prefers Lilla, but because he finds Victoria’s assertive and bold nature to be off-putting, considering her “utterly opposite to the gentle Lilla” (196). Henriquez is one of the few characters who is suspicious of Victoria, but even he is not immune to her crafty manipulations. After he rejects her, Victoria feigns embarrassment and regret and Henriquez mistakes her for a modest young woman. Like his brother, Henriquez’s inability to see Victoria’s true nature puts him in a precarious situation: he is overcome with grief when Lilla vanishes mysteriously, and he dies by suicide after learning that Victoria has tricked and seduced him. Dacre positions Henriquez as a virtuous and heroic ideal. However, the only way he believes he can retain agency in the face of Victoria’s violent and ruthless behavior is through death. Henriquez does not develop or change as a character and is ultimately powerless to prevent Victoria from carrying out her destructive plans.

Laurina is the mother of Victoria and Leonardo; early in the novel, she is seduced into an adulterous relationship and breaks up her family to be with her lover. Laurina is positioned as well-intentioned, but vain and weak: she falls prey to Ardolph’s seductions because of her “vanity and love of admiration” (47). Laurina is unsuccessful at resisting Ardolph both when he asks her to elope with him and when she tries to break off the relationship after the death of her estranged husband. Laurina does seem to love her children and tries to protect Victoria from beginning an illicit relationship with Berenza, but she loses her children’s respect as a result of the choices she has made. Laurina’s choice to elope with her lover is depicted as a key inciting event that sets the conflict of the plot in motion, and she is repeatedly blamed for the moral decline of both Victoria and Leonardo. Laurina ends up living an unhappy life when her relationship with Ardolph becomes abusive and she is subject to “the pangs and indignities of brutal tyranny” (244). She dies a miserable and agonizing death after Victoria refuses to forgive her. Laurina develops in the sense that she comes to regret her choices and becomes aware of the consequences of her actions. However, she does not have the ability to make any changes or to redeem herself.

Lilla is an important secondary character who serves as a foil to Victoria. Lilla is the young woman Henriquez hopes to marry, and she therefore becomes Victoria’s rival; Victoria eventually kills Lilla out of jealous rage. Lilla is characterized to achieve maximal juxtaposition with Victoria: she is depicted as docile, religious, chaste, and soft-spoken. Lilla’s physical characterization also positions her as the opposite of Victoria and Zofloya, both of whom are described as dark and statuesque. She is described as “delicate, symmetrical, and of fairy-like beauty, her person so small […] long flaxen hair floated over her shoulders” (144). Lilla being petite and blonde exemplifies traits associated with feminine ideals of beauty. She is also very religious and deferential to her family (she postpones becoming engaged to Henriquez out of respect for her father’s wishes). Lilla’s trusting innocence and tendency to see the good in everyone ends up being her downfall, as she does not suspect Victoria’s hatred until it is far too late. Even when Victoria comes to the cave intent on killing her, Lilla pleads, “even now I love thee, and believe that thou art mad!” (219). Lilla’s inability to see Victoria for who she is until it is too late parallels Victoria’s inability to assess Zofloya’s true nature. Both women are trusting in their own flawed ways, and end up destroyed as a result. Lilla’s character remains consistent and stable throughout, but it cannot save her. Like Henriquez, Lilla’s virtue and integrity do not protect her.