The Prisoner of Zenda (1894), by Anthony Hope, is an adventure novel in which the King of Ruritania is drugged on the eve of his coronation and thus is unable to attend the ceremony. Political forces within the realm are such that, in order for the king to retain the crown, his coronation must proceed. Fortuitously, an English gentleman on holiday in Ruritania who resembles the monarch is persuaded to act as his political decoy in an effort to save the unstable political situation of the interregnum.

Queen Flavia, dutifully but unhappily married to her cousin Rudolf V, writes to her true love Rudolf Rassendyll. The letter is carried by von Tarlenheim and his servant Bauer to be delivered by hand, but Fritz is betrayed by Bauer and it is stolen by the exiled Rupert of Hentzau and his loyal cousin the Count of Luzau-Rischenheim. Hentzau sees in it a chance to return to favor by informing the pathologically jealous and paranoid King.

Kethol is an adventurer with an easy smile, a man who is quick with a quip and quicker with a sword. His partner Pirojil's ugly looks deceive people into thinking he's stupid to their sorrow in the third rollicking Guardians of the Flame book.

The Prisoner of Zenda is a dystopian adventure novel in which the King of Ruritania is drugged on the eve of his coronation and thus is unable to attend the ceremony. Political forces within the realm are such that, in order for the king to retain the crown, his coronation must proceed. Fortuitously, an English gentleman on holiday in Ruritania who resembles the monarch is persuaded to act as his political decoy in an effort to save the unstable political situation of the interregnum.

This is a book about the long cultural shadow cast by a single bestselling novel, Anthony Hope's The Prisoner of Zenda (1894), which introduced Ruritania, a colourful pocket kingdom. In this swashbuckling tale, Englishman Rudolf Rassendyll impersonates the king of Ruritania to foil a coup, but faces a dilemma when he falls for the lovely Princess Flavia. Hope's novel inspired stage and screen adaptations, place names, and even a board game, but it also launched a whole new subgenre, the "Ruritanian romance". The new form offered swordplay, royal romance, and splendid uniforms and gowns in such settings as Alasia, Balaria, and Cadonia. This study explores both the original appeal of The Prisoner of Zenda, and the extraordinary longevity and adaptability of the Ruritanian formula, which, it is argued, has been rooted in a lingering fascination with royalty, and the pocket kingdom's capacity to hold a looking glass up to Britain and later the United States. Individual chapters look at Hope's novel and its stage and film adaptations; at the forgotten American versions of Ruritania; at the chocolate-box principalities of the musical stage; at Cold War reworkings of the formula; and at Ruritania's recent reappearance in young adult fiction and made-for-television Christmas movies. The adventures of Ruritania have involved a diverse list of contributors, including John Buchan, P.G Wodehouse, Agatha Christie, Vladimir Nabokov, and Ian Fleming among the writers; Sigmund Romberg and Ivor Novello among the composers; Erich Von Stroheim and David O. Selznick among the film-makers; and Robert Donat, Madeleine Carroll, Peter Ustinov, Peter Sellers, and Anne Hathaway among the performers.