For those who haven’t been following this blog, let me introduce it a little. I am currently blogging my 21st novel that has the working title Daemon. The novel is about Aksinya, a sorceress, who, to save her family from the Bolsheviks, called and contracted the demon, Asmodeus. Her family was murdered anyway, and she fled with the demon from Russia to Austria.
Aksinya and Ernst are dancing at his father's New Years party. Their conversation is very personal. Ernst suggests they go to a more private location...
“Come, we will converse in private.”
Aksinya pressed her lips together again, “Not without my chaperone.”
Ernst glanced at her. He hesitated a moment, “Very well.” He led Aksinya to where Natalya sat. Aksinya made a sign to Natalya. Ernst held to Aksinya’s fingers on his arm and took her back toward the parlor. He led her through the room and to the entrance to a smaller sunroom on the other side. The music from the ballroom still sifted to them. He touched the back of a chair and glanced at Natalya, “I wish to speak privately with the Countess. Would you sit here by the door? You can still observe us though the opening.”
Natalya glanced at Aksinya. Aksinya nodded to her. Natalya sat in the chair, and Ernst led Aksinya to the end of the sunroom. The small room was like an enclosed balcony. The outer wall was glass and overlooked a courtyard within the interior of the building. A low stone wall stood at the end as though the balcony had once been open, but the glass had been added later. He rested against the edge and held Aksinya’s hands. She pulled her hands from his and leaned on the top of the wall. The top was unfinished stone with some crumbling mortar in between. She picked at the loose pieces of it, “What did you wish to say to me that you couldn’t say in the ballroom?”
“The reason I am so interested in you.”
Aksinya toyed with the mortar, “I was about to tell you… you are interested only because of the sorcery. I understand that.”
He stared out at the darkened courtyard, “It isn’t the sorcery.”
Aksinya picked at the mortar a little more fiercely, “It has always been about the sorcery.”
“Why are you trying to tell me how I feel about you?”
“It is obvious. It is because of the sorcery. Isn’t that what you told me before?”
Ernst grabbed her hands and made her look at him, “It is obvious that I love you.”
Aksinya tried to pull her hands out of his and turned her face away, “It is obvious because of the sorcery. Don’t bring in such ideas as love.”
“I’m telling you, Aksinya. It isn’t the sorcery. I love you.”
“You…you used my name.”
“Sorry, I’m telling you, it isn’t the sorcery. It never was the sorcery. That was just an excuse I used to get close to you.”
“You said you were trying to accomplish sorcery, and you wanted me to teach you.”
“I lied.”
“You said my courtier told you about me.”
“I heard about you from your uncle. He pointed me to your courtier. I don’t know why the subject of sorcery came up with him. I have been studying it. I have been completely unsuccessful. I know I can’t really do it. It requires a faith in the world I don’t have.”
“So you took my book just to get me to go to the ballet with you.”
“Your courtier said there was no other way to convince you. I wanted to get to know you. You are an astonishing person. In my mind, you are a perfect woman.”
Aksinya mumbled, “Ha, you know nothing about me.”
“But I do know a lot about you now. Everything I know, I love.”
The private conversation...this is the kind of event a chaperone isn't supposed to prevent, but must keep in check. Aksinya shows wisdom here. The Lady Natalya comes along--we knew she would. If you haven't guessed it already, the entire party was put together to support this very event.
Ernst leads Aksinya to an enclosed balcony--how romantic. Natalya can observe them through the opening.
I give you a detailed description of the place--this is important. I won't build too much here about the meaning behind the details, but you can see for yourself the metaphors I set in place. Aksinya will not hold Ernst's hands. She rests her hands on the top and plays with the rotten mortar between the stones--there is an intentional metaphor here. She asks the obvious question: “What did you wish to say to me that you couldn’t say in the ballroom?” If you remember, it wasn't what Ernst was going to say--it was what Aksinya was about to say. Ernst gets it. He wants to tell her: “The reason I am so interested in you.”
Now Aksinya tells us what she thinks about everything that has been going on with Ernst. This is very important, but it is not new information. We knew it from the beginning: "...you are interested only because of the sorcery. I understand that.” This was the reason Ernst gave from the beginning. This was the idea that held Aksinya back. This is why she kept asking for the books.
Ernst's answer: “It isn’t the sorcery.” Doesn't surprise her, she just thinks it is a lie. Ernst is becoming angry with her. I don't tell you this, his words show you this. Aksinya calls him on his statements, and he answers her straightforwardly. He says he loves her, but she still doesn't believe it. Aksinya can't imagine that someone would love her. Love is a strange thing to Aksinya. We aren't certain she understands what love really is at all. Then...Ernst uses Aksinya's name. That is a real faux pas, and very intimate, but he thinks, perhaps that will shock her into believing him. It shocks her, but doesn't work much--at least she listens to him.
We get an explanation from Ernst about some of the events that made him seek out Aksinya. We find that most of what he told her before was a lie. It was a lie he used to get close to her, but a lie none-the-less. And Ernst admits he lied. We discover the details of Ernst's interaction with the Freiherr and with Asmodeus.
Still, everything Ernst tells us, we knew already. We realized he loves Aksinya. We realized he stole her book to get her to go out with him. He thinks she is special and perfect. We know all this is temptation--temptation for Ernst and temptation for Aksinya. The kicker here is Ernst's confession (again): “But I do know a lot about you now. Everything I know, I love.” Alas, he doesn't know much at all.
Ah, love. Aksinya is wary. Natalya is wary. Aksinya should be. Natalya knows. Tomorrow, more of the lovebirds conversation on the enclosed balcony.
Showing posts with label castle. Show all posts
Showing posts with label castle. Show all posts
Tuesday, March 8, 2011
Friday, March 4, 2011
A New Novel, Part 152 My Son is Courting the Countess
For those who haven’t been following this blog, let me introduce it a little. I am currently blogging my 21st novel that has the working title Daemon. The novel is about Aksinya, a sorceress, who, to save her family from the Bolsheviks, called and contracted the demon, Asmodeus. Her family was murdered anyway, and she fled with the demon from Russia to Austria.
Aksinya, Natalya, and the Bockmanns have arrived at Ernst Father's estate. The immediate greetings are complete. Now, the Graf leads them into the house...
The Graf seemed even more pleased, “I understand completely, Countess. Very well, it is cold outside, and I understand your delicate nature. Please, let us retire to the ballroom. There are refreshments, and I’m certain, my guests would like to make your acquaintance.” The Graf extended his arm toward Aksinya. She took it. Ernst frowned and gave his arm to Natalya. They made their way into the house with the Graf von Taaffe and the Countess Golitsyna in the lead.
The interior of the mansion was similar to the outside. The floor was set stone, and very old. Martial emblems and weapons decorated the walls. The foyer was large and the walls were very thick. Heavy tapestries attempted to contain the chill from the outside, but they only helped increase the temperature a little. Inside, with the Graf’s help, a footman took Aksinya’s cloak. They made their way up a long stone staircase to the next floor. That opened to a long room which ran over half the length of the front of the house. At the far end of the ballroom, a string quartet played gentle waltz music. Against the inside wall were two large fireplaces filled with roaring wood fires. The floors here were also stone, but thick oriental rugs covered them. The temperature was also much more to Aksinya’s liking, but a persistent draft touched the room with a slight chill.
Five other very well dressed couples conversed in the room. When the new arrivals entered, they all turned toward the Graf and his visitors. Graf von Taaffe pulled Aksinya gently ahead of him, “Ladies and Gentlemen, may I present to you, the Countess Aksinya Andreiovna Golitsyna.” Everyone made a deep bow or curtsy. The Graf continued, “My son, Ernst is courting the Countess."
A quiet mummer ran through the ballroom.
Graf von Taaffe smiled, “I will introduce the Countess to each of you when it is convenient for her.”
Aksinya blushed again, “Please continue, I will be pleased to make your acquaintance.”
The entire room made an obeisance to her again.
The Graf laughed and gestured Ernst forward. He placed Aksinya’s hand on Ernst’s arm and announced to the group, “Accompanying the Countess is her aunt and uncle, my friends, the Freiherr and Freifrau Bockmann. You all are acquainted with them already. And also, the Countess’s lady-in-waiting, a member of the Russian court, the Lady Natalya Alexandrovna Obolenska.”
The group bowed to the Freiherr, Freifrau, and Natalya.
The Graf nodded to Ernst, “Come Ernst let us introduce the Countess.” With Natalya directly behind them, the Graf led Aksinya around to each of his friends and holders. They were mostly lower nobility and some politicians from the local area. None were as high as a Freiherr in rank.
When the introductions were finished, Aksinya had only a few moments to stand at one of the fireplaces beside Ernst while he engaged in conversation with his father’s guests. Aksinya didn’t speak much to them. She didn’t have time to become comfortable before a house servant came around to announce that dinner was served.
I left out an important observation yesterday. I'm certain you saw it, but just to make sure. When Ernst's father offers his arm to Aksinya, this is most proper--the Count should escort the Countess. Anything else is really unthinkable in the society, but Ernst frowns when he gives his arm to Natalya. Everything is proper, but you should wonder, why did Ernst frown. The first reason is the most obvious, he wanted to escort Aksinya, the Countess, and not Natalya. The second, if the Graf allowed Ernst to escort Aksinya, the Countess, that would be a direct indicator of his father's pleasure and certainty that Ernst is ready to assume the duties as Graf. Ernst wants this approval very much, especially in front of Aksinya. We will see very soon how this all plays out.
The scene setting continues inside the house. As I've mentioned before, my point is to provide enough description to spark your own imagination. I agree with Arlo Guthrie and Ernest Hemingway on this that too much description makes a book like a movie or a screenplay. You don't want to give so much to your readers that they are locked in the view only the author or producer imagined. You want to give scope to the reader's imagination to fill out a scene in the boundary of their own imagination. The author must put enough into the description to bound the scene for the reader and install inside it the props necessary for the story, plot, and theme. Too much is a burden on the reader and too little an equal burden.
So the description...I already told you the house looked like a castle and gave some details that focused (bound) your mind in a certain way. The interior just confirms to you the way you knew it had to be. The important point is the temperature. Anyone who has been inside a real castle knows they are impossible to heat. It is the middle of winter. The contrast is the warm welcome of the family and later the guests and the cold thick stone.
Remember the three floors I mentioned before? The ballroom is on the second floor (the floor with the medium sized windows). A string quartet plays a waltz, and the two fireplaces are blazing. The room's still cold. There is a persistent chill through the room--just scene setting here.
We see five couples--so this is a small party, only 16 people total. You can guess they were all hand-picked by the Graf. The reason for this will become obvious later. The Graf introduces Aksinya to the group. This is proper, but even more proper is an individual introduction especially to royalty. I mentioned this before too. The Graf tells them Ernst is courting Aksinya. There is some excitement at the announcement, but they likely already know this juicy tidbit of gossip. The Graf wants everyone to know--especially Aksinya, that he accepts her and accepts his sons decision. Look at the etiquette of the group. It is perfect--they are hand-picked. Aksinya's reply is perfect too.
The Graf places Aksinya's hand on Ernst arm. In this group and at this time, he is willing to hand over the countess to his son. The precedence of rank is obvious here. He has announced that they are courting, this is indeed the right thing to do, but he still stays close--he is not willing to give the appearance that he is handing anything else over to his son.The Graf then introduces the rest of the newcomers. Note, the Bockmanns know these people. Surely, at a party so far out of Wein, there might be a single person the Bockmanns might not know. No, the Graf wants this to be a perfect party and evening. He has picked the people for their decorum and rank. They all know the Bockmanns--there will be no surprises tonight. That is the obvious intention of the Graf. The Graf laughed for pleasure. He is happy everything is working out just as he planned it.
The Graf with Ernst then takes Aksinya (and Ernst) around the room to make private introductions. You can guess what these are like--I don't need to tell you. Natalya follows obediently along. We find that these people are all holders to the Graf in one way or another.
Aksinya is chilled and uncomfortable. She knew what this party would be like from the beginning--she knows all about parties. Isn't she the one who ended up a wallflower at the Advent party? Finally, it is time for dinner--that's a bit of luxuria Aksinya can delve into. Tomorrow, dinner at Steinholtz.
Aksinya, Natalya, and the Bockmanns have arrived at Ernst Father's estate. The immediate greetings are complete. Now, the Graf leads them into the house...
The Graf seemed even more pleased, “I understand completely, Countess. Very well, it is cold outside, and I understand your delicate nature. Please, let us retire to the ballroom. There are refreshments, and I’m certain, my guests would like to make your acquaintance.” The Graf extended his arm toward Aksinya. She took it. Ernst frowned and gave his arm to Natalya. They made their way into the house with the Graf von Taaffe and the Countess Golitsyna in the lead.
The interior of the mansion was similar to the outside. The floor was set stone, and very old. Martial emblems and weapons decorated the walls. The foyer was large and the walls were very thick. Heavy tapestries attempted to contain the chill from the outside, but they only helped increase the temperature a little. Inside, with the Graf’s help, a footman took Aksinya’s cloak. They made their way up a long stone staircase to the next floor. That opened to a long room which ran over half the length of the front of the house. At the far end of the ballroom, a string quartet played gentle waltz music. Against the inside wall were two large fireplaces filled with roaring wood fires. The floors here were also stone, but thick oriental rugs covered them. The temperature was also much more to Aksinya’s liking, but a persistent draft touched the room with a slight chill.
Five other very well dressed couples conversed in the room. When the new arrivals entered, they all turned toward the Graf and his visitors. Graf von Taaffe pulled Aksinya gently ahead of him, “Ladies and Gentlemen, may I present to you, the Countess Aksinya Andreiovna Golitsyna.” Everyone made a deep bow or curtsy. The Graf continued, “My son, Ernst is courting the Countess."
A quiet mummer ran through the ballroom.
Graf von Taaffe smiled, “I will introduce the Countess to each of you when it is convenient for her.”
Aksinya blushed again, “Please continue, I will be pleased to make your acquaintance.”
The entire room made an obeisance to her again.
The Graf laughed and gestured Ernst forward. He placed Aksinya’s hand on Ernst’s arm and announced to the group, “Accompanying the Countess is her aunt and uncle, my friends, the Freiherr and Freifrau Bockmann. You all are acquainted with them already. And also, the Countess’s lady-in-waiting, a member of the Russian court, the Lady Natalya Alexandrovna Obolenska.”
The group bowed to the Freiherr, Freifrau, and Natalya.
The Graf nodded to Ernst, “Come Ernst let us introduce the Countess.” With Natalya directly behind them, the Graf led Aksinya around to each of his friends and holders. They were mostly lower nobility and some politicians from the local area. None were as high as a Freiherr in rank.
When the introductions were finished, Aksinya had only a few moments to stand at one of the fireplaces beside Ernst while he engaged in conversation with his father’s guests. Aksinya didn’t speak much to them. She didn’t have time to become comfortable before a house servant came around to announce that dinner was served.
I left out an important observation yesterday. I'm certain you saw it, but just to make sure. When Ernst's father offers his arm to Aksinya, this is most proper--the Count should escort the Countess. Anything else is really unthinkable in the society, but Ernst frowns when he gives his arm to Natalya. Everything is proper, but you should wonder, why did Ernst frown. The first reason is the most obvious, he wanted to escort Aksinya, the Countess, and not Natalya. The second, if the Graf allowed Ernst to escort Aksinya, the Countess, that would be a direct indicator of his father's pleasure and certainty that Ernst is ready to assume the duties as Graf. Ernst wants this approval very much, especially in front of Aksinya. We will see very soon how this all plays out.
The scene setting continues inside the house. As I've mentioned before, my point is to provide enough description to spark your own imagination. I agree with Arlo Guthrie and Ernest Hemingway on this that too much description makes a book like a movie or a screenplay. You don't want to give so much to your readers that they are locked in the view only the author or producer imagined. You want to give scope to the reader's imagination to fill out a scene in the boundary of their own imagination. The author must put enough into the description to bound the scene for the reader and install inside it the props necessary for the story, plot, and theme. Too much is a burden on the reader and too little an equal burden.
So the description...I already told you the house looked like a castle and gave some details that focused (bound) your mind in a certain way. The interior just confirms to you the way you knew it had to be. The important point is the temperature. Anyone who has been inside a real castle knows they are impossible to heat. It is the middle of winter. The contrast is the warm welcome of the family and later the guests and the cold thick stone.
Remember the three floors I mentioned before? The ballroom is on the second floor (the floor with the medium sized windows). A string quartet plays a waltz, and the two fireplaces are blazing. The room's still cold. There is a persistent chill through the room--just scene setting here.
We see five couples--so this is a small party, only 16 people total. You can guess they were all hand-picked by the Graf. The reason for this will become obvious later. The Graf introduces Aksinya to the group. This is proper, but even more proper is an individual introduction especially to royalty. I mentioned this before too. The Graf tells them Ernst is courting Aksinya. There is some excitement at the announcement, but they likely already know this juicy tidbit of gossip. The Graf wants everyone to know--especially Aksinya, that he accepts her and accepts his sons decision. Look at the etiquette of the group. It is perfect--they are hand-picked. Aksinya's reply is perfect too.
The Graf places Aksinya's hand on Ernst arm. In this group and at this time, he is willing to hand over the countess to his son. The precedence of rank is obvious here. He has announced that they are courting, this is indeed the right thing to do, but he still stays close--he is not willing to give the appearance that he is handing anything else over to his son.The Graf then introduces the rest of the newcomers. Note, the Bockmanns know these people. Surely, at a party so far out of Wein, there might be a single person the Bockmanns might not know. No, the Graf wants this to be a perfect party and evening. He has picked the people for their decorum and rank. They all know the Bockmanns--there will be no surprises tonight. That is the obvious intention of the Graf. The Graf laughed for pleasure. He is happy everything is working out just as he planned it.
The Graf with Ernst then takes Aksinya (and Ernst) around the room to make private introductions. You can guess what these are like--I don't need to tell you. Natalya follows obediently along. We find that these people are all holders to the Graf in one way or another.
Aksinya is chilled and uncomfortable. She knew what this party would be like from the beginning--she knows all about parties. Isn't she the one who ended up a wallflower at the Advent party? Finally, it is time for dinner--that's a bit of luxuria Aksinya can delve into. Tomorrow, dinner at Steinholtz.
Monday, February 28, 2011
A New Novel, Part 149 An Undefendable House
For those who haven’t been following this blog, let me introduce it a little. I am currently blogging my 21st novel that has the working title Daemon. The novel is about Aksinya, a sorceress, who, to save her family from the Bolsheviks, called and contracted the demon, Asmodeus. Her family was murdered anyway, and she fled with the demon from Russia to Austria.
You know the drill. This is the beginning of chapter 13 so it is time to transition and set the scene. The transition comes first...
The invitations from Ernst continued every week. During that time, Aksinya and Natalya had an unwelcome break from school for Christmas and New Years. It was unwelcome because Natalya wanted to study and Aksinya liked the privacy of her own house—the Freiherr and Freifrau insisted they stay at Grossbock during the holiday. Ernst came to collect Aksinya and Natalya at Grossbock for their outings. Occasionally he ate dinner with them. During the holidays, he escorted Aksinya to dinner and a concert, opera, ballet, or a play every other day. The Freiherr and Freifrau encouraged Aksinya, and Aksinya was certain her aunt and uncle encouraged Ernst. She had her own suspicions that Asmodeus also encouraged him. She hadn’t seen Asmodeus for a while and that worried her very much. Natalya simply went along with Aksinya and carefully watched Ernst.
Aksinya made it her practice not to drink as much as she had the night of Die Zauberflöte. She still enjoyed the wine and Champagne Ernst served her, but she was just a little more cautious. She loved to drink but she did not enjoy the aftermath, and she wasn’t certain of what she did or told Natalya in the privacy of her room when she was not sober.
Ernst invited Aksinya, Natalya, and the Bockmanns to the Graff von Taaffe’s New Years dance and party. Because of the distance to the estate, they were invited to remain over until the next day and brought their small trunks and nightwear. They rode in the Bockmann’s coupe for more than two hours into the country until they arrived at the Graff von Taaffe’s estate. The way to the house from the main road was down a long tree-lined carriage path. Aksinya would have continued to read her German novel except that Natalya pointed out their approach to the house. They caught occasional glimpses from the enclosed cab of the great house as they cut back and forth in the gentle climb to the mansion.
The house was large and very old. From a distance, it looked like a schloß, but had a little more modern appearance close up. That is, on closer observation, it appeared to be from the eighteenth century, which it was, rather than from the fourteenth century, which it wasn’t. The front was stone with a generous fresco of marble, and all three floors displayed a similar exterior. The access to the heavy oaken front door was from a set of modern marble steps, but in contrast, the lower floor showed tiny windows and the top floor a crenulated roofline. Aksinya could spot the iron roofing that poked above the tops of the decorative crenulations. The second floor windows were larger and more numerous, but still gave an impression of medieval depth, and the top floor windows were the largest, but the thickness of the stone facade prevented any visibility into them. Tall constructions at either end of the face of the mansion appeared like towers, but they were encompassed at the walls and not separate structures.
The mansion reminded Aksinya a little of her house in Russia. The outline and much of the ornamentation were similar. In Russia, however, the purpose was protection and defense. Her house had been defended many times in the past by the Counts Golitsyna. She, on the other hand, had abandoned it instead of defending it with her life. She shook her head. She wondered why that thought had suddenly stolen into her mind. The von Taaffe estate, on the other hand, gave no impression that it had ever been defended against any real foe.
You need to ask yourself this question: does Aksinya appear like a woman in love. If she does, I have failed miserably. On the other hand, if Ernst doesn't appear like a love-struck puppy, I have messed up the writing entirely. If you didn't get it before, you should now. The details in this transition give you many details about Aksinya and Natalya and, of course, Ernst. We knew about the relationship pushing from the Freiherr and Freifrau. We could have guessed that Natalya loves to study and Aksinya loves her privacy. I hope you are suspicious too about the interaction of Asmodeus in the whole affair.
We also see that Aksinya is trying to moderate her own behaviour. She hasn't been successful in the past and we know where this kind of thing goes anyway. I suspect she won't be successful now, but we shall see. Note, that Aksinya is concerned with what she might reveal to Natalya while she is drunk.
Now on to the main point of the chapter: Ernst invited Aksinya to his father's estate for New Years. He also, quite properly, invited Aksinya's aunt and uncle. This is the scene setting for the chapter. This occurs following the transition. I give you a bunch of information in a tight format. Notice that Aksinya doesn't care about the house, Natalya points it out to her. It is through the eyes of Aksinya we see the house of Ernst's father. The mansion is on a mountain top. I don't tell you this, I show you this through the travel on the road. I also use comparison and other techniques to describe the house to you. This description is a metaphor for the Taaffe family. So lets look at the details of that.
The house is large and very old. Likewise the Taaffe family. It looks like a castle (that's what a schloß is). It is more modern close up. So Ernst is like his father's house. It has the appearance of age and the past, but close up, he is modern (in terms of a noble). The other details likewise relate to the building and the family. The contrast between modern and ancient between old and new. The description of the house also shows the windows are tiny on the bottom with thick walls and wider with the same thick walls at the top. This indicates the potential secrets and privacy of the family. You know there is a depth and many secrets here, but I don't reveal any of them. There are secrets especially about Ernst, but I haven't shown them to you. You might ask about how Ernst became involved in sorcery. You might wonder about his mother--we'll see that later, and his father.
The next comparison is between Aksinya's house and Ernst's father's house. It reminds her of her house in Russia. Take this metaphor to the full point. Ernst's house is a facade; Aksinya's house was used for defense. This is a foreshadowing to what I mentioned before. Do you think Ernst can release Aksinya from her curse? What do you read from his father's house. Akinsya tells you that in spite of her power and her desires, in her well protected and defended house, she could not defend or protect it. The end tagline about the Taaffe's estate is this: The von Taaffe estate, on the other hand, gave no impression that it had ever been defended against any real foe. So what do you think? Tomorrow, the arrival.
You know the drill. This is the beginning of chapter 13 so it is time to transition and set the scene. The transition comes first...
The invitations from Ernst continued every week. During that time, Aksinya and Natalya had an unwelcome break from school for Christmas and New Years. It was unwelcome because Natalya wanted to study and Aksinya liked the privacy of her own house—the Freiherr and Freifrau insisted they stay at Grossbock during the holiday. Ernst came to collect Aksinya and Natalya at Grossbock for their outings. Occasionally he ate dinner with them. During the holidays, he escorted Aksinya to dinner and a concert, opera, ballet, or a play every other day. The Freiherr and Freifrau encouraged Aksinya, and Aksinya was certain her aunt and uncle encouraged Ernst. She had her own suspicions that Asmodeus also encouraged him. She hadn’t seen Asmodeus for a while and that worried her very much. Natalya simply went along with Aksinya and carefully watched Ernst.
Aksinya made it her practice not to drink as much as she had the night of Die Zauberflöte. She still enjoyed the wine and Champagne Ernst served her, but she was just a little more cautious. She loved to drink but she did not enjoy the aftermath, and she wasn’t certain of what she did or told Natalya in the privacy of her room when she was not sober.
Ernst invited Aksinya, Natalya, and the Bockmanns to the Graff von Taaffe’s New Years dance and party. Because of the distance to the estate, they were invited to remain over until the next day and brought their small trunks and nightwear. They rode in the Bockmann’s coupe for more than two hours into the country until they arrived at the Graff von Taaffe’s estate. The way to the house from the main road was down a long tree-lined carriage path. Aksinya would have continued to read her German novel except that Natalya pointed out their approach to the house. They caught occasional glimpses from the enclosed cab of the great house as they cut back and forth in the gentle climb to the mansion.
The house was large and very old. From a distance, it looked like a schloß, but had a little more modern appearance close up. That is, on closer observation, it appeared to be from the eighteenth century, which it was, rather than from the fourteenth century, which it wasn’t. The front was stone with a generous fresco of marble, and all three floors displayed a similar exterior. The access to the heavy oaken front door was from a set of modern marble steps, but in contrast, the lower floor showed tiny windows and the top floor a crenulated roofline. Aksinya could spot the iron roofing that poked above the tops of the decorative crenulations. The second floor windows were larger and more numerous, but still gave an impression of medieval depth, and the top floor windows were the largest, but the thickness of the stone facade prevented any visibility into them. Tall constructions at either end of the face of the mansion appeared like towers, but they were encompassed at the walls and not separate structures.
The mansion reminded Aksinya a little of her house in Russia. The outline and much of the ornamentation were similar. In Russia, however, the purpose was protection and defense. Her house had been defended many times in the past by the Counts Golitsyna. She, on the other hand, had abandoned it instead of defending it with her life. She shook her head. She wondered why that thought had suddenly stolen into her mind. The von Taaffe estate, on the other hand, gave no impression that it had ever been defended against any real foe.
You need to ask yourself this question: does Aksinya appear like a woman in love. If she does, I have failed miserably. On the other hand, if Ernst doesn't appear like a love-struck puppy, I have messed up the writing entirely. If you didn't get it before, you should now. The details in this transition give you many details about Aksinya and Natalya and, of course, Ernst. We knew about the relationship pushing from the Freiherr and Freifrau. We could have guessed that Natalya loves to study and Aksinya loves her privacy. I hope you are suspicious too about the interaction of Asmodeus in the whole affair.
We also see that Aksinya is trying to moderate her own behaviour. She hasn't been successful in the past and we know where this kind of thing goes anyway. I suspect she won't be successful now, but we shall see. Note, that Aksinya is concerned with what she might reveal to Natalya while she is drunk.
Now on to the main point of the chapter: Ernst invited Aksinya to his father's estate for New Years. He also, quite properly, invited Aksinya's aunt and uncle. This is the scene setting for the chapter. This occurs following the transition. I give you a bunch of information in a tight format. Notice that Aksinya doesn't care about the house, Natalya points it out to her. It is through the eyes of Aksinya we see the house of Ernst's father. The mansion is on a mountain top. I don't tell you this, I show you this through the travel on the road. I also use comparison and other techniques to describe the house to you. This description is a metaphor for the Taaffe family. So lets look at the details of that.
The house is large and very old. Likewise the Taaffe family. It looks like a castle (that's what a schloß is). It is more modern close up. So Ernst is like his father's house. It has the appearance of age and the past, but close up, he is modern (in terms of a noble). The other details likewise relate to the building and the family. The contrast between modern and ancient between old and new. The description of the house also shows the windows are tiny on the bottom with thick walls and wider with the same thick walls at the top. This indicates the potential secrets and privacy of the family. You know there is a depth and many secrets here, but I don't reveal any of them. There are secrets especially about Ernst, but I haven't shown them to you. You might ask about how Ernst became involved in sorcery. You might wonder about his mother--we'll see that later, and his father.
The next comparison is between Aksinya's house and Ernst's father's house. It reminds her of her house in Russia. Take this metaphor to the full point. Ernst's house is a facade; Aksinya's house was used for defense. This is a foreshadowing to what I mentioned before. Do you think Ernst can release Aksinya from her curse? What do you read from his father's house. Akinsya tells you that in spite of her power and her desires, in her well protected and defended house, she could not defend or protect it. The end tagline about the Taaffe's estate is this: The von Taaffe estate, on the other hand, gave no impression that it had ever been defended against any real foe. So what do you think? Tomorrow, the arrival.
Subscribe to:
Posts (Atom)