It is quite possible that the greatest literary accomplishment of the year 1844 was the publication of The Three Musketeers. The swashbuckling adventures of Athos, Porthos, Aramis, and D’Artagnan penned by Alexandre Dumas have delighted readers and audiences ever since, inspiring dozens of stage and film adaptations. Not quite so popular is the trilogy Dumas published as a sequel, which concluded with The Man In The Iron Mask. The story has been told in film, with such notables as Richard Chamberlain and Leonardo DiCaprio in the title role, but it does not come close in popularity to its predecessor. Perhaps the subject matter is the cause. The tale concerns a man sentenced to life in prison behind a mask so that no one may know his identity. Dumas based his novel on an intriguing footnote of French history, but with much literary license. The mysterious man in Dumas’ story was Philippe, twin brother of King Louis XIV of France. As the king’s identical twin his very existence posed a threat to Louis. Therefore he was doomed by royal decree to live out his life anonymously behind a mask. This Baroque version of identity theft constitutes a fate worse than death. Not only is the man denied his rights as a member of the royal house, his very personhood is stripped from him, so that in time even he forgets who he is. No wonder The Man In The Iron Mask is so disturbing; this prince of the royal house suffers a fate none of us would ever wish to share.
And yet most Christians and Jews labor under precisely such an identity disability. We have all forgotten who we really are.