In Rafael Sabatini's Scaramouche (1921), the character of Peter Blood emerges, much like Moreau, as a thinker ripped from a life of reflection and flung into a whirlwind of daring exploits. Blood, like Moreau, yearns for the solace of solitude, hoping to distance himself from the madness of conflict. Despite his wishes, he is propelled into a battle against injustice. Blood possesses the keen insight of being "an exceptional judge of men." He embodies self-reliance, nobility, and a certain ruthlessness. Yet, beneath this veneer of independence, Captain Blood is a tormented soul, drawing our empathy in ways Moreau does not.

Sabatini's storytelling is a canvas of vivid contrasts, where his principal characters are painted in stark hues of black and white. Yet, it's the intricate minor characters that breathe life into the narrative. Take Lord Jeffreys, the Lord Chief Justice who dooms Blood to a lifetime of suffering. His "oval face that was delicately beautiful" and "the fine sensitiveness of those nostrils, the tenderness of those dark liquid eyes, and the noble calm of that pale brow" mask a savage nature. This blend of grace and brutality, this fevered allure intertwined with excruciating cruelty, renders Lord Jeffreys one of Sabatini’s most captivating figures.

Lord Julian Wade stands as another of Sabatini's characters, rich with the complexity of dualities. "He is ingenious, tolerably accomplished, mildly dissolute, entirely elegant," as Sabatini describes. A courtly figure, he is "very sophisticated" with "carefully educated tastes." Though he exudes a melancholy, dreamy aura, he remains ever-watchful and discerning. While he stands in opposition to Captain Blood, Lord Julian’s actions are driven by jealousy, rather than the outright malevolence exhibited by Colonel Bishop.