The Rogue

There are two essential manifestations of the Rogue: the first is in a plot where he is opposed to some sort of illegitimate authority. Under these circumstances he may become a highwayman, a prince of theives, a rebel leader, a secret agent, a raider of tombs. Armed with a heroic concern for justice, and a jaunty delight in breaking unjust laws, he goes forth to deprive the unworthy of their ill-gotten treasures, and to bestow them on the poor and the oppressed.
Now, should the rightful King happen to ride into the plot and establish himself on the throne, the character of the Rogue is modified accordingly. His bravery, uncanny skill, and willingness to undertake absurd quests put him in the ideal position to serve as a faithful Knight, carrying out the more outlandish and romantic of the King's designs.
Many Rogues combine these two aspects very successfully -- 007 is as faithful to the British Crown as he is lawless in his pursuit of Her Majesty's goals; Robin Hood may rob everyone who passes through Sherwood Forest, but he is more than happy to place himself in the service of Richard the Lionheart on the monarch's return.
In Romance plots, the political side of the Rogue's character is often neglected. He becomes a slightly disreputable figure, particularly in the eyes of the woman he intends to court. His vulgarity may be attractive, particularly to Princesses tired of the polished insularity of court life, or it may be repugnant, particularly if he is romancing his Lover -- the Shrew. This is, of course, the classic plot of many romantic comedies from Shakespeare to modern film, where the protagonists play at hating each other as they fall ever deeper in love.

Archetypal Events: Hunt, Plan, Disguise, White Elephant, Grant Safe Passage, Liberate

Common Rogue Plots:

Treasure Hunt: An ancient treasure has fallen into the wrong hands, or is at risk of falling into them, and it must be recouped. The Rogue's claim to the treasure is usually justified either because a) the treasure will be used for evil by his opponents, b) he has some sort of legitimate claim to it, or c) he intends to hand it over to someone who does have a legitimate claim.

Just Rebellion: The evil empire has spread its shroud over the realm, and a band of courageous outlaws are the only force that stands between the oppressed populace and perpetual tyrrany. The Rogue leads this band of heroes as they seek to restore the plundered wealth of the common man, to destroy the infrastructure of oppression, and to bring the usurperous government to ruin.

Taming of the Shrew: The Shrew mislikes the Rogue, the Rogue is hardened against romance, and they're both determined to have the last word. Bound together by the bonds of their perpetual squabble, they spit venom at one another until, by some means or other, the Shrew's pride is broken and she consents to love him.

The Unattainable Woman: The Rogue is smitten from the moment that he first lays eyes on the Princess, but he is not worthy of her. He can show her a wonderful time, they can laugh together, he can write her the most fabulously romantic verses, and fight to keep the scoundrels from his lady's skirts, but their love is not to be. Even so, he does not become the wounded lost-lover, wandering the streets of Paris and mooning like a pathetic puppy; he is still a Rogue, and he will always have his panache.

The Fallen Knight: He is supposed to go a courting in the name of his King, but the alleged Princess turns out to be a Nymph. The poor loyal Knight falls prey to her charms, and they become entwined in an affair of mutually assured destruction.

The Ship: Like most left-hand male heroes, the Rogue is transient. The most archetypal form of his home is the ship, or boat. This vessel is a sort of floating island, a kingdom apart from any kingdom, and it grants him autonomy from the unjust rulers that he opposes. The Rogue's ship is very often outfitted with special powers -- whether it is a car that can turn into a boat and also shoot missiles out of its headlights, or the fastest merchantman on the brine.
Ammunition: When the Rogue runs out of bullets, arrows, cannonballs, insults, etc. this generally signals that the end of his plot is near. It means that he is no longer inapproachable, able to strike from out of reach, and can be therefore captured. If he is against a Usurper, this often means death. If he is against a Shrew, it means that he is ready to submit to love.
The Bow: The traditional form of this weapons is a long-bow, but the essence of it is that it is a long-range weapon that is used with uncanny accuracy; a sniper rifle or masterfully handled bull-whip will serve the same basic purpose. It is often used as a weapon of rescue, to cut through a noose around a friend's neck or to break the ropes that hold together an enemy seige engine.
The Hood: If the King's crown is designed to show forth his authority to the world, the Rogue's hood is designed for exactly the opposite purpose: it is used to shield his face, as a kind of disguise, and it grants him a measure of anonymity. A large brimmed hat that throws shadows across the face or a kerchief that covers the nose and mouth are variations on the theme. When the hood becomes a hat (in between a hood and a crown), it is often invested with special significance, and the Rogue will go back against absurd odds to rescue it if it is lost.
The Treasure: The most traditional of prizes belongs to the Rogue. It cannot be just any treasure: it must have great, and preferably mystical significance. It must be unique, and it must be obscenely difficult to come by. This can include anything from the Holy Grail to a Shrew's love.
Ballad: Rogues, if they are immortalized, tend to be immortalized in song. This derives to a certain extent from the general red-square concern with songs and singing, but the ballad is especially appropriate to the Rogue because the minstrel who sings it is a sort of lesser Rogue who looks up to the one who has already completed his quest.
Minor Symbols: Cloak, Shadows

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