Whenever we speak of emphasis in art we are naturally concerned about emphasizing that which is vital in the theme or story. We do not, for example, emphasize a man's suspenders in a portrait where the main theme is grief. Nor need we, for that matter, emphasize tears; for a man might show as much grief with his shoulders as with a wet handkerchief. In other words, if the theme is grief we should emphasize grief itself rather than any particular gesture of grief.
Similarly if in a romantic story the main theme is dashing sword play, it is swordsmanship which should be stressed, and not the sword itself, unless, of course, that sword happens to have some magic property. Therefore it is bad art in "The Mark of Zorro," a Douglas Fairbanks play, to repeat with every sub-*title a conventional sketch of a sword. It is bad, not only because the hero's sword needs no emphasis, but because a mere decorative drawing of a sword cannot reinforce the significance of the real sword which the hero so gallantly wields.
There is a recurring note, however, in this play which can be commended. It is the "Z" shaped mark or wound which Zorro makes with his sword. We see it first as an old scar on the cheek of a man whom Zorro has reprimanded. Then we see Zorro himself trace the mark on a bulletin board from which he tears down a notice. Then we see him cut the dreaded "Z" upon the neck of an antagonist. And, finally, we see him, some days later, fix his weird mark squarely on the brow of his old enemy. And in every case except the first we observe the quick zigzag motion of the avenging sword.
