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.
Showing posts with label introductions. Show all posts
Showing posts with label introductions. Show all posts
Friday, March 4, 2011
Thursday, January 27, 2011
A New Novel, Part 116 The Abbot
I hope you find my commentary cogent most of the time. I work 40/40 on my day job and my other jobs. If you don't know what I do, just take a look at my websites. I should post my schedule. Just so you know, I prep this blog the night before and release it into the wild before I have to get ready for work at 0700. As I said, I hope it is cogent. I thought by releasing this novel, I would make the blogging easier. Perhaps it has ensured sufficient material for commentary.
That said, the Advent party at the Bockmann's has just begun. Aksinya followed by Natalya have made their appearance. Now, they take their positions...
Freiherr Bockmann took Aksinya by the arm and led her to one of the great fireplaces. A wood fire roared within it. He sat Aksinya in a chair that faced the ballroom. Natalya stood at Aksinya’s side. At first, the Freifrau and Freiherr sat and conversed with Aksinya about the people she would meet that evening and the weather. When the guests began to arrive, they stood beside Aksinya and greeted each one. The guests were announced by the house steward and directed to the Freifrau and Freiherr. Freifrau Bockmann introduced each guest to Aksinya. She did so formally and with gravity and used Aksinya’s full name, Countess Aksinya Andreiovna Golitsyna. She then introduced the Lady Natalya.
Aksinya’s memory was excellent, but after the first fifty couples, she lost track entirely. Then the young single men arrived followed by the Catholic churches’ leaders in the city. Among this group, Aksinya remembered only the Cardinal of Wien and the Abbot of Sacré Coeur. The Cardinal was a pinch faced older man with an Italian accent. His secretary, Herr Schwab followed him everywhere. The Abbot was jollier and a little younger with a great smile and a back country tone to his German. They both seemed pleasant men.
When all the guests had been received, Aksinya was left enthroned in her seat at the fireplace. Natalya brought her a glass of wine and a plate of food. Most of the guests stood a polite distance away from Aksinya as though they were afraid to approach the Countess although they had been introduced. Eventually, the Abbot stepped up beside Aksinya. He bowed, “Dear Countess, I understand you are attending Sacré Coeur.”
“Yes Father Abbot, my lady-in-waiting and I are both attending.”
“That is what I heard from the Reverend Mother. Your progress…”
“Is less than expected.”
“Yes, I’d heard that too. Is our curriculum not to your liking?”
“Not at all. Lady Natalya is learning German. The language is new to her. I must ensure she gains this skill before I can focus on my studies.”
“Oh, I see.”
“I thought I made this clear to the Reverend Mother.”
“The Reverend Mother is entirely complementary toward you. She has not said a negative word concerning you at all. I have other sources. My job is to keep an eye on the school and the convent. You are one of our most important students, so I keep an eye out for you too.”
“Thank you, Father Abbot.”
“The pleasure is all mine. I hope Sacré Coeur can be like a family to you. We do wish you to feel comfortable... and to succeed.”
“I shall apply myself as well as I can. My lady-in-waiting is very bright and is nearly ready to advance in her basic language knowledge. I think in the next semester, I will be able to focus on my other work.”
“I will hold you to that.”
“Please don’t. The needs of my servant and friend are much more important to me than my own progress.”
The Abbot took a sharp breath.
“You needn’t be so surprised. This is what my father taught me. He oversaw a very large estate in Russia with thousands under his care. The needs of the people are necessary to maintain their dignity and your honor.”
The Abbot bowed, “Even so, you are very wise, Countess.”
Aksinya’s smile slipped, “Not so wise as cautious, but thank you.”
The Freiherr settles Aksinya at her place. Note the location and the deferential attitude of the Freiherr and Freifrau. The house has a wood fire, and Aksinya gets to sit in the warmth before it. Aksinya's aunt and uncle entertain her until the party really begins. Then the guests start to arrive. Aksinya is the new toast of the town--the sweetheart of the nobility. Like everywhere, the excitement is with the novue and the unusual--Aksinya is both. The party is obviously well attended, and then we get with the single men along with the Catholic church leaders. I give you a short description of each of the leaders because I want you to remember them--we will meet them again.
Finally, the guests have all arrived and Aksinya is left...alone? She was the toast of the ball and the town. You might wonder about that. In any case, Aksinya gets her food and her wine, but little company--until the Abbot steps forward.
The Abbot is interested in Aksinya's studies. He knows a lot about her. Aksinya tells the truth. She has no reason to lie. Aksinya reports to him the same thing she has told the teachers and the Reverend Mother. The Abbot didn't really believe the Reverend Mother (obviously). Then we find out, the Abbot is keeping an eye on her. That's when Aksinya gives the full bore to him: "The needs of my servant and friend are much more important to me than my own progress.” We have addressed this before. Aksinya has the mind of a perfect Russian aristocrat. We expect her to be overbearing and perhaps a little rude (she is), but we should also expect her to take care of those who look to her. Just as Aksinya's father managed the people who were beholden to him, she oversees those whom she is responsible for. The Abbot's response is very fine, Aksinya's turns the table, for though he called her wise, Aksinya's last response is even wiser: “Not so wise as cautious, but thank you.” When you are an aristocrat, you ensure the positive behavior of your people by your mature treatment of them. Aksinya knows this lesson--that is why, in the end, it will backfire on her. Tomorrow, we hear from the Cardinal.
That said, the Advent party at the Bockmann's has just begun. Aksinya followed by Natalya have made their appearance. Now, they take their positions...
Freiherr Bockmann took Aksinya by the arm and led her to one of the great fireplaces. A wood fire roared within it. He sat Aksinya in a chair that faced the ballroom. Natalya stood at Aksinya’s side. At first, the Freifrau and Freiherr sat and conversed with Aksinya about the people she would meet that evening and the weather. When the guests began to arrive, they stood beside Aksinya and greeted each one. The guests were announced by the house steward and directed to the Freifrau and Freiherr. Freifrau Bockmann introduced each guest to Aksinya. She did so formally and with gravity and used Aksinya’s full name, Countess Aksinya Andreiovna Golitsyna. She then introduced the Lady Natalya.
Aksinya’s memory was excellent, but after the first fifty couples, she lost track entirely. Then the young single men arrived followed by the Catholic churches’ leaders in the city. Among this group, Aksinya remembered only the Cardinal of Wien and the Abbot of Sacré Coeur. The Cardinal was a pinch faced older man with an Italian accent. His secretary, Herr Schwab followed him everywhere. The Abbot was jollier and a little younger with a great smile and a back country tone to his German. They both seemed pleasant men.
When all the guests had been received, Aksinya was left enthroned in her seat at the fireplace. Natalya brought her a glass of wine and a plate of food. Most of the guests stood a polite distance away from Aksinya as though they were afraid to approach the Countess although they had been introduced. Eventually, the Abbot stepped up beside Aksinya. He bowed, “Dear Countess, I understand you are attending Sacré Coeur.”
“Yes Father Abbot, my lady-in-waiting and I are both attending.”
“That is what I heard from the Reverend Mother. Your progress…”
“Is less than expected.”
“Yes, I’d heard that too. Is our curriculum not to your liking?”
“Not at all. Lady Natalya is learning German. The language is new to her. I must ensure she gains this skill before I can focus on my studies.”
“Oh, I see.”
“I thought I made this clear to the Reverend Mother.”
“The Reverend Mother is entirely complementary toward you. She has not said a negative word concerning you at all. I have other sources. My job is to keep an eye on the school and the convent. You are one of our most important students, so I keep an eye out for you too.”
“Thank you, Father Abbot.”
“The pleasure is all mine. I hope Sacré Coeur can be like a family to you. We do wish you to feel comfortable... and to succeed.”
“I shall apply myself as well as I can. My lady-in-waiting is very bright and is nearly ready to advance in her basic language knowledge. I think in the next semester, I will be able to focus on my other work.”
“I will hold you to that.”
“Please don’t. The needs of my servant and friend are much more important to me than my own progress.”
The Abbot took a sharp breath.
“You needn’t be so surprised. This is what my father taught me. He oversaw a very large estate in Russia with thousands under his care. The needs of the people are necessary to maintain their dignity and your honor.”
The Abbot bowed, “Even so, you are very wise, Countess.”
Aksinya’s smile slipped, “Not so wise as cautious, but thank you.”
The Freiherr settles Aksinya at her place. Note the location and the deferential attitude of the Freiherr and Freifrau. The house has a wood fire, and Aksinya gets to sit in the warmth before it. Aksinya's aunt and uncle entertain her until the party really begins. Then the guests start to arrive. Aksinya is the new toast of the town--the sweetheart of the nobility. Like everywhere, the excitement is with the novue and the unusual--Aksinya is both. The party is obviously well attended, and then we get with the single men along with the Catholic church leaders. I give you a short description of each of the leaders because I want you to remember them--we will meet them again.
Finally, the guests have all arrived and Aksinya is left...alone? She was the toast of the ball and the town. You might wonder about that. In any case, Aksinya gets her food and her wine, but little company--until the Abbot steps forward.
The Abbot is interested in Aksinya's studies. He knows a lot about her. Aksinya tells the truth. She has no reason to lie. Aksinya reports to him the same thing she has told the teachers and the Reverend Mother. The Abbot didn't really believe the Reverend Mother (obviously). Then we find out, the Abbot is keeping an eye on her. That's when Aksinya gives the full bore to him: "The needs of my servant and friend are much more important to me than my own progress.” We have addressed this before. Aksinya has the mind of a perfect Russian aristocrat. We expect her to be overbearing and perhaps a little rude (she is), but we should also expect her to take care of those who look to her. Just as Aksinya's father managed the people who were beholden to him, she oversees those whom she is responsible for. The Abbot's response is very fine, Aksinya's turns the table, for though he called her wise, Aksinya's last response is even wiser: “Not so wise as cautious, but thank you.” When you are an aristocrat, you ensure the positive behavior of your people by your mature treatment of them. Aksinya knows this lesson--that is why, in the end, it will backfire on her. Tomorrow, we hear from the Cardinal.
Wednesday, January 5, 2011
A New Novel, Part 94 Father Dobrushin
At the Ecclesia, we meet three very critical characters. This meeting is a foreshadowing and a key point in the plot and theme. I begin with the introduction of Father Makar.
At the end of the service, the Freiherr introduced the Priests to her, “Father Makar.” The Freiherr stumbled over the simple Russian pronunciation. Father Makar was a short man with a very calm face. His smile pressed through his full beard and even touched Aksinya’s heart. The Freiherr continued, “This is the Countess Aksinya Andreiovna Golitsyna.”
Father Makar put his hands together, “We heard that you were in the city, Countess. We are very pleased to greet you in our Ecclesia.”
Aksinya held her handkerchief before her lips. The crucifix burned against her chest, “Good day, Father.”
“Are you all right, Countess? You seem a little pale.”
“I did not get much sleep last night. I am well enough, thank you.”
“Then please let me introduce my wife, the Matushka Ekaterina.” He pointed at a woman who was a little shorter than he. Her features were as pleasant as his. Her face was round and her eyes large. She gave an impression of youth, but her hair was gray and she wasn’t more than a decade younger than Father Makar.
Matushka Ekaterina’s voice was gentle. She took Aksinya’s hand and curtsied, “Good day, Countess. I hope to make your further acquaintance.”
Aksinya couldn’t imagine a person she would less like to be close to, but she simply nodded.
Father Makar waved the other priest over to them. He was young and tall. His hair was not gray and his face unwrinkled. He appeared not more than thirty, but that was difficult to tell since he wore a priest’s typical beard. The beard was a little less than full, but it seemed to fit his face. His face was fine boned and gentle. At that moment, his features did not appear very pleasant to Aksinya. His mouth was set in a severe frown. He gazed at Aksinya with unconcealed concern. Father Makar still smiled, “This, Countess, is Father Dobrushin. Countess, don’t let Father Dobrushin’s demeanor bother you. He is young and still too solemn…”
Aksinya spoke from behind her handkerchief, “He does not hate me because I am a member of the aristocracy, does he?”
Father Dobrushin tried to smile, “I’m sorry for my appearance, Countess. I do support our Russian nobility, but I felt that you were not comfortable here and that concerned me.”
“Not comfortable?” Father Makar gave Aksinya a second appraisal. “Father Dobrushin is usually very sensitive about theses things. Are you certain, Countess, that you are well?”
Aksinya could not smile, “Don’t concern yourself about me. I am well and comfortable,” she lied. “I will feel better when I have dined. If you will excuse me?”
The priests bowed and the Matushka curtsied.
Father Makar seems to be a pleasant person. We will learn later, he is an archpriest in the Orthodox church. Is is not a bad man or a bad priest. He has obviously built up a wealthy Ecclesia. He is gentle and impresses Aksinya at least so she has no negative opinion. Aksinya's problem is her nausea and her crucifix that burns her chest. This is obviously in reaction to the Ecclesia.
Father Makar notices Aksinya's distress. He doesn't understand it. Aksinya lies about what disturbs her. Father Makar introduces his wife. The wife of an Orthodox priest is called a Matushka. A Matushka helps her husband in the work of the Ecclesia. She is expected to help the priest especially with the women of the congregation. The Matushka Ekaterina is a nice woman. Aksinya can't stand her because he is gentle, personable, and mature. Note, these are all the characteristics of Natalya. The are the characteristics Aksinya didn't like about Natalya to begin with. They are the characteristics that Aksinya claimed not to have.
Then we meet Father Dobrushin. Father Dobrushin is young. He notices Aksinya has some problem. He is sensitive, as Father Makar noted. Aksinya's answer is defensive and insensitive. She asks the obvious question you would expect from this time. A person who frowns at a Countess might be a Bolshevik. That wasn't the reason Father Dobrushin frowned.
Father Makar trusts Father Dobrushin's judgements--at least right now. Aksinya lies again. In this short series of introductions, we see the two priests and the Matushka. The Father Dobrushin is sensitive and interested in Aksinya. Father Makar is concerned but breezy. We needed to meet them all.
At the end of the service, the Freiherr introduced the Priests to her, “Father Makar.” The Freiherr stumbled over the simple Russian pronunciation. Father Makar was a short man with a very calm face. His smile pressed through his full beard and even touched Aksinya’s heart. The Freiherr continued, “This is the Countess Aksinya Andreiovna Golitsyna.”
Father Makar put his hands together, “We heard that you were in the city, Countess. We are very pleased to greet you in our Ecclesia.”
Aksinya held her handkerchief before her lips. The crucifix burned against her chest, “Good day, Father.”
“Are you all right, Countess? You seem a little pale.”
“I did not get much sleep last night. I am well enough, thank you.”
“Then please let me introduce my wife, the Matushka Ekaterina.” He pointed at a woman who was a little shorter than he. Her features were as pleasant as his. Her face was round and her eyes large. She gave an impression of youth, but her hair was gray and she wasn’t more than a decade younger than Father Makar.
Matushka Ekaterina’s voice was gentle. She took Aksinya’s hand and curtsied, “Good day, Countess. I hope to make your further acquaintance.”
Aksinya couldn’t imagine a person she would less like to be close to, but she simply nodded.
Father Makar waved the other priest over to them. He was young and tall. His hair was not gray and his face unwrinkled. He appeared not more than thirty, but that was difficult to tell since he wore a priest’s typical beard. The beard was a little less than full, but it seemed to fit his face. His face was fine boned and gentle. At that moment, his features did not appear very pleasant to Aksinya. His mouth was set in a severe frown. He gazed at Aksinya with unconcealed concern. Father Makar still smiled, “This, Countess, is Father Dobrushin. Countess, don’t let Father Dobrushin’s demeanor bother you. He is young and still too solemn…”
Aksinya spoke from behind her handkerchief, “He does not hate me because I am a member of the aristocracy, does he?”
Father Dobrushin tried to smile, “I’m sorry for my appearance, Countess. I do support our Russian nobility, but I felt that you were not comfortable here and that concerned me.”
“Not comfortable?” Father Makar gave Aksinya a second appraisal. “Father Dobrushin is usually very sensitive about theses things. Are you certain, Countess, that you are well?”
Aksinya could not smile, “Don’t concern yourself about me. I am well and comfortable,” she lied. “I will feel better when I have dined. If you will excuse me?”
The priests bowed and the Matushka curtsied.
Father Makar seems to be a pleasant person. We will learn later, he is an archpriest in the Orthodox church. Is is not a bad man or a bad priest. He has obviously built up a wealthy Ecclesia. He is gentle and impresses Aksinya at least so she has no negative opinion. Aksinya's problem is her nausea and her crucifix that burns her chest. This is obviously in reaction to the Ecclesia.
Father Makar notices Aksinya's distress. He doesn't understand it. Aksinya lies about what disturbs her. Father Makar introduces his wife. The wife of an Orthodox priest is called a Matushka. A Matushka helps her husband in the work of the Ecclesia. She is expected to help the priest especially with the women of the congregation. The Matushka Ekaterina is a nice woman. Aksinya can't stand her because he is gentle, personable, and mature. Note, these are all the characteristics of Natalya. The are the characteristics Aksinya didn't like about Natalya to begin with. They are the characteristics that Aksinya claimed not to have.
Then we meet Father Dobrushin. Father Dobrushin is young. He notices Aksinya has some problem. He is sensitive, as Father Makar noted. Aksinya's answer is defensive and insensitive. She asks the obvious question you would expect from this time. A person who frowns at a Countess might be a Bolshevik. That wasn't the reason Father Dobrushin frowned.
Father Makar trusts Father Dobrushin's judgements--at least right now. Aksinya lies again. In this short series of introductions, we see the two priests and the Matushka. The Father Dobrushin is sensitive and interested in Aksinya. Father Makar is concerned but breezy. We needed to meet them all.
Tuesday, December 7, 2010
A New Novel, Part 65 More Introductions and Details
Finally, we get some commensurate introductions from the other girls at the table. We will find three girls are the main conversationalists at the table and in the school. Only two of those today.
The older girl who spoke already to them introduced herself, “I am Fraulein Anna Pfaff.” Anna had a round and gentle face. A sweet smile filled her features pleasantly. Her hair was blond. Fraulein Pfaff continued, “Since the Lady Natalya doesn’t speak German, what country is she from?”
Aksinya grinned, “Is my German that good. You didn’t ask what country I am from.”
One of the other girls rolled her eyes, “Anna, are you so slow? They are Russian. That’s obvious from their names. I’m Dieter Vogt. You are both Russian, aren’t you? You escaped from the civil war?” Dieter Vogt wore an immaculate uniform. Her short coat and blouse looked as if they had been pressed just moments before dinner. Her long dark brown hair was brushed to perfection, and her face was beautiful and slender.
Aksinya and Natalya nodded.
Dieter pressed her hands together, “That’s so romantic. Where is your family?”
Lady Natalya came out of her seat again. Aksinya didn’t stop her this time, “That is not a subject that may be discussed.”
Dieter almost fell out of her chair, “I’m sorry. I do apologize. I understand.”
Aksinya’s voice was a little tense, “There is no reason to apologize. My parents, brother, and sister were murdered on the front lawn of our estate. Only I escaped. That is why I am the Countess Golitsyna. The situation is equally difficult for the Lady Natalya. You would be the best of friends not to mention it a second time.”
The table immediately became quiet again.
Anna introduces herself, and we get a description of her. Did you note, Anna isn't very bright. That's the point of her question--she's just a little slow. On the other hand, Dieter is very bright. We find out later that her father is a politician. Her description should point out some of these details already.
Dieter is well informed about politics and the world. She will give us information in the future about Austria and the world. That is part of the point of introducing important secondary characters. The point of the characters is not that they are just characters, but that, by their backgrounds, they can provide important information within the novel. This is a critical idea in any novel--you don't introduce characters extraneously, they have purpose beyond their existence. Their purpose is to propel the storyline, plot, and theme.
Dieter goes on to ask a simple question that is a minefield for Aksinya and Natalya. Aksinya allows Natalya to go off on Dieter. Aksinya herself then gives a slight attack. We get to hear a synopsis of Aksinya's history that is communicated to the girls at the table. We can guess this information then gets out to the rest of the school. Look carefully at Aksinya's reply she places Natalya in her camp and by association specifies that any question against her is a question against Natalya. Simple ideas to communicate, but done easily with this little dialog.
Tomorrow the completion of chapter 6. I am refining chapter 15, the pivotal chapter. I would hope that by that time, you would be able to guess what happened, but in any case, I still want it to be a surprise.
The older girl who spoke already to them introduced herself, “I am Fraulein Anna Pfaff.” Anna had a round and gentle face. A sweet smile filled her features pleasantly. Her hair was blond. Fraulein Pfaff continued, “Since the Lady Natalya doesn’t speak German, what country is she from?”
Aksinya grinned, “Is my German that good. You didn’t ask what country I am from.”
One of the other girls rolled her eyes, “Anna, are you so slow? They are Russian. That’s obvious from their names. I’m Dieter Vogt. You are both Russian, aren’t you? You escaped from the civil war?” Dieter Vogt wore an immaculate uniform. Her short coat and blouse looked as if they had been pressed just moments before dinner. Her long dark brown hair was brushed to perfection, and her face was beautiful and slender.
Aksinya and Natalya nodded.
Dieter pressed her hands together, “That’s so romantic. Where is your family?”
Lady Natalya came out of her seat again. Aksinya didn’t stop her this time, “That is not a subject that may be discussed.”
Dieter almost fell out of her chair, “I’m sorry. I do apologize. I understand.”
Aksinya’s voice was a little tense, “There is no reason to apologize. My parents, brother, and sister were murdered on the front lawn of our estate. Only I escaped. That is why I am the Countess Golitsyna. The situation is equally difficult for the Lady Natalya. You would be the best of friends not to mention it a second time.”
The table immediately became quiet again.
Anna introduces herself, and we get a description of her. Did you note, Anna isn't very bright. That's the point of her question--she's just a little slow. On the other hand, Dieter is very bright. We find out later that her father is a politician. Her description should point out some of these details already.
Dieter is well informed about politics and the world. She will give us information in the future about Austria and the world. That is part of the point of introducing important secondary characters. The point of the characters is not that they are just characters, but that, by their backgrounds, they can provide important information within the novel. This is a critical idea in any novel--you don't introduce characters extraneously, they have purpose beyond their existence. Their purpose is to propel the storyline, plot, and theme.
Dieter goes on to ask a simple question that is a minefield for Aksinya and Natalya. Aksinya allows Natalya to go off on Dieter. Aksinya herself then gives a slight attack. We get to hear a synopsis of Aksinya's history that is communicated to the girls at the table. We can guess this information then gets out to the rest of the school. Look carefully at Aksinya's reply she places Natalya in her camp and by association specifies that any question against her is a question against Natalya. Simple ideas to communicate, but done easily with this little dialog.
Tomorrow the completion of chapter 6. I am refining chapter 15, the pivotal chapter. I would hope that by that time, you would be able to guess what happened, but in any case, I still want it to be a surprise.
Saturday, December 4, 2010
A New Novel, Part 62 The Introductions
So now Natalya has been convinced to sit and eat with the other ladies. We see the introduction of the two new students to the school.
At that word, Natalya sat upright. She covered her face with her napkin for a moment then sighed and laid it in her lap.
Aksinya smiled. The Reverend Mother smiled, “That’s much more pleasant, Lady Natalya. Thank you.”
Under the eyes of the whole room, the Reverend Mother made her way back to the head table. She stood in front of her chair and raised her arms, “Ladies, may I have your attention. Today, we accepted two new students to Sacré Coeur. They are very special students. May I introduce to you the Countess Aksinya Andreiovna Golitsyna. She is the niece of the Freiherr and Freifrau Bockmann. Freifrau Bockmann is an alum of Sacré Coeur. The Countess is sitting at the older scholar’s table. Please make her welcome when you have the opportunity. Accompanying the countess is her lady-in-waiting, the Lady Natalya Alexandrovna Obolenska. The Lady Natalya is not used to our informality. She is very uncomfortable with our egalitarian ways. Please help her to become familiar with our community. She doesn’t speak German, so you must use your French to good effect.”
Aksinya explained the Reverend Mother’s words to Natalya. Natalya colored and again hid her face.
The Reverend Mother said a prayer and everyone crossed themselves. Then she sat in her high backed chair and the novice sisters began to serve the meal.
So the RM introduces Aksinya and Natalya. This is a simple and basic thing to understand. In this period, the introduction was necessary and critical to social interaction. You were not supposed to converse with another without an introduction. The RM's general introduction provides this service for the school and for the new students.
The RM goes on to explain a little about Aksinya and then about Natalya. Do you note the RM's equivocation. It is done just for Natalya. She tells the school to help Natalya understand their egalitarian ways--the school is not egalitarian or informal, it is just the opposite. They hold to a protocol that is just as strong as the Russian court. The point is that the school and the students must uphold their honor and their position before the Countess and her lady-in-waiting. They are both higher in position than the other ladies. Therefore, the RM explains that they will rise to the level of Aksinya and Natalya and she asks them to accept their ways--not informal at all.
The reason Natalya colored is that she was acknowledged at all. Part of the joke is that they have a French name, Sacré Coeur, and they teach French, so they should be speaking French.
The transition to the meal is the prayer--did you expect anything else in a convent school?
At that word, Natalya sat upright. She covered her face with her napkin for a moment then sighed and laid it in her lap.
Aksinya smiled. The Reverend Mother smiled, “That’s much more pleasant, Lady Natalya. Thank you.”
Under the eyes of the whole room, the Reverend Mother made her way back to the head table. She stood in front of her chair and raised her arms, “Ladies, may I have your attention. Today, we accepted two new students to Sacré Coeur. They are very special students. May I introduce to you the Countess Aksinya Andreiovna Golitsyna. She is the niece of the Freiherr and Freifrau Bockmann. Freifrau Bockmann is an alum of Sacré Coeur. The Countess is sitting at the older scholar’s table. Please make her welcome when you have the opportunity. Accompanying the countess is her lady-in-waiting, the Lady Natalya Alexandrovna Obolenska. The Lady Natalya is not used to our informality. She is very uncomfortable with our egalitarian ways. Please help her to become familiar with our community. She doesn’t speak German, so you must use your French to good effect.”
Aksinya explained the Reverend Mother’s words to Natalya. Natalya colored and again hid her face.
The Reverend Mother said a prayer and everyone crossed themselves. Then she sat in her high backed chair and the novice sisters began to serve the meal.
So the RM introduces Aksinya and Natalya. This is a simple and basic thing to understand. In this period, the introduction was necessary and critical to social interaction. You were not supposed to converse with another without an introduction. The RM's general introduction provides this service for the school and for the new students.
The RM goes on to explain a little about Aksinya and then about Natalya. Do you note the RM's equivocation. It is done just for Natalya. She tells the school to help Natalya understand their egalitarian ways--the school is not egalitarian or informal, it is just the opposite. They hold to a protocol that is just as strong as the Russian court. The point is that the school and the students must uphold their honor and their position before the Countess and her lady-in-waiting. They are both higher in position than the other ladies. Therefore, the RM explains that they will rise to the level of Aksinya and Natalya and she asks them to accept their ways--not informal at all.
The reason Natalya colored is that she was acknowledged at all. Part of the joke is that they have a French name, Sacré Coeur, and they teach French, so they should be speaking French.
The transition to the meal is the prayer--did you expect anything else in a convent school?
Sunday, November 28, 2010
A New Novel, Part 56 Answers to Questions and Uniform Details
I'm answering questions today. I'll address any questions you might have on my comments or the text itself. This helps me clarify the writing when I go through it in future edits. My answers are in italics.
Part 42 The Proposal Part 2
You said the demon chose this aunt/uncle, city (Wien, ie, Vienna), school for his own purpose; not yet revealed, but you hinted the demon wanted "more scope to torture Aksinya."
Couple of basic Q's on your choice of words:
1. Why use Wien..'German' language name for Vienna, the city and federal state in Austria? (Many readers will miss connection.) Yes! Wien is Vienna. I did this on purpose, and I'm not certain I want to explain it to my readers. The reason is that I very much like the scope of using foreign language terms in my writing. It ensures the reader steps out of her/his safety zone and has to think in a new way. The basis language for the writing is Russian--they means I transliterate most Russian terms into their English equivalents. Count and Countess, for example, instead of their usual Russian equivalents. On the other hand, as I explained before, I had Aksinya use the Russian for "shut up" to drive the reader back into the idea of the use of the Russian language. As they move into Austria, I want the reader to be constantly reminded that this is not Russia, it is Austria. I can't imagine a better what than to refer to the correct Austrian names for places and people's names. Also, the use of stra(sset)e instead of road. So, in conclusion, the knowledgeable reader will know that Wien is Vienna and all it's cultural associations (which will come out in the writing)--about 20%. The not as knowledgeable, but curious will look it up and figure out what is going on--about 30%. The entertained will just think it is a place in Austria and make the association at some point in their life. That might make them want to reread the book to see what they might have missed--about 30%. The rest of the readers will assume it is real or imaginary and just enjoy the story--the remaining 20%.
2. Why did you say demon wants "more scope to torture Aksinya? I'm aware the demon attacks her.. tied directly and indirectly to her actions. But, inflicting torture evokes the idea of punishment or pain to get info or to coerce another to/away from a certain a certain actions without tortured one able to make an decision of 'free moral agency' w/ consequences know a priori...which is vastly different. I'm not certain where I write about this in the story, but the demon does say it directly more than once:
1. His job is to do evil in the name of Aksinya--if she will not do evil or not order him to do evil, he will take it into his hands to force her to it. That is his purpose. This is torture enough for a normal soul, but there is more...
2. He is allowed to torture those who do evil. So every time Aksinya accomplishes evil, that gives the demon further latitude to torture her. This small detail has not been revealed before, and is a major revelation about the book. This is the expanding tragedy that is Aksinya, by following the dictates of the demon, she causes herself further suffering. In other words, there is no way she can save herself from the demon.
Part 43 The Arrival at the Gymnasium
1. Interesting choice of name for the girls' gymnasium, Sacré Coeur; I think that's French for Sacred Heart. Why a French language catholic school? I realize Austrian aristocracy sent their children to French speaking schools preparing them for University; but, why choose a Catholic place? Seems like a 'religious' place is the last place a demon would want the girls. Very good sleuthing. Sacré Coeur does indeed mean sacred heart in French. It is the name of a real convent and girl's school in Wien (Vienna). Where better than the heart of Christ would there be for a demon to do evil. What better Trojan Horse than a pitiable young countess who was driven from her country. Here is a revelation, the demon will attempt to bring down the school and the convent from within and without, but that is simply a sideline to his main goals.
2. Also interesting to note, 'sacred heart' is a devotional name used by Catholics to refer to the physical heart of Jesus Christ (as a symbol of divine love), and often associated w/ asceticism..a far cry from compulsion & temptation the girl falls into..in pursuit of luxuria. (I'm guessing, the school name, and environment was purposely chosen, for juxtapositional purposes.) You are right on the money. I didn't intentionally skip over these associations--as I mentioned before, I try to explain the multi-levels of the writing as well as I can, but I will certainly miss some of my own key points. Many of these will come out later in the text in a more complete revelation.
3. Finally, interest why Freifrau Bockmann, while making a running commentary on the school, and say... “...across from the church is the school... I mean the gymnasium. That is such a new term for me. It was always just a school when I attended there.”
Why did she call it a 'new term/? My understanding, the gymnasium was the model of German-Austrian schools since the 16th century; and in 1812, a Prussian regulation ordered all university prep schools bear the name of gymnasia. And, by the 20th century, this practice was followed in almost all German states, in Austria and in Russia. Would imply, in Wien, schools were called gymnasiums, preceding Freifrau Bockmann's own childhood, and training at that very school. Am, I missing something? When Freifrau Bockmann went to Sacré Coeur it was simply as school for girls. By this time it was a gymnasium for girls. Perhaps I need to clarify. I did try to convey this point in the text and I might have mentioned it before. There were no gymnasia for girls until the 19th century in Germany and into the 20th century in Austria. Therefore when Freifrau Bockman went to Sacré Coeur, it was a school and now it is a gymnasium for girls. As I understand it this is also historically correct for the actual Sacré Coeur in Wien. Note also, instead of Baron and Baroness, I use Freiherr and Freifrau. I would have liked to use Baron and Baroness, but I use the Austrian terms to place you in Austria. Harder for me, but, I hope, a scene setter for my readers.
New section in the chapter with a break. So we move on to the school itself and their incorporation in it.
Freiherr and Freifrau Bockmann left Aksinya, Natalya, and Asmodeus and took their coupe back to their estate at the edge of the city.
That afternoon Aksinya and Natalya received a pair of uniforms from Frau Drescher. To her credit, she chose clothing that was not too worn or faded, and the uniforms fitted the two of them reasonably well. After Natalya was finished with them, they were perfect. The stains were gone and the fitting was perfect. They flattered both of them. The uniforms were classic grey woolen skirts that reached to the ankles with a black belt at the waist. The blouse was made of white silk with some gentle lacy frills at the collar. For the winter seasons there was a grey short coat and a grey sweater. The shoes were button-up black brushed leather. Asmodeus gladly found shoes that matched Aksinya’s requirements from his large chest. He brought out the basic items Aksinya requested from him.
Okay, I couldn't find out the exact uniforms that Sacré Coeur used at this time, so I did some research and used the model of a typical convent school uniform for the time in Austria. The style is typical convent mixed with a little Art Deco from almost a decade before. If you note, we get again the perfection that is Natalya. She knows exactly what to do domestically and as a lady-in-waiting.
Just a short piece to round out the questions I answered. In the writing, I am at chapter 13 and almost finished with it. I have been so busy, I haven't had much time to write, but I intend to finish this chapter and go to 14 today. I have the rest of the book outlined, and I know where it is going--the devil (demon) is in the details.
In fact, a little about where hard points come in the writing. The last pieces for me were difficult. I don't like to have to set every bit of the scene, but I know it is critical to the novel. Once the scene is set, you can then write directly to the storyline, plot, and theme. You will see this direct detail in the next section of this chapter, that is chapter 6. In chapter 13, I had a heap of description, plus a lot of introductions. The description is necessary, the introductions are critical. Introductions in this cultural period are the lubricants of society. Therefore, the detail I put into this novel must show you these introductions. As we will see (have seen) the way introductions are made are critical to pick up on many of the deeper details of the story. To pull all this together, once the details of the scene are set, the author is free to then let the players move around in it. The hard part is the scene, the easy part is the play of the novel within it.
Part 42 The Proposal Part 2
You said the demon chose this aunt/uncle, city (Wien, ie, Vienna), school for his own purpose; not yet revealed, but you hinted the demon wanted "more scope to torture Aksinya."
Couple of basic Q's on your choice of words:
1. Why use Wien..'German' language name for Vienna, the city and federal state in Austria? (Many readers will miss connection.) Yes! Wien is Vienna. I did this on purpose, and I'm not certain I want to explain it to my readers. The reason is that I very much like the scope of using foreign language terms in my writing. It ensures the reader steps out of her/his safety zone and has to think in a new way. The basis language for the writing is Russian--they means I transliterate most Russian terms into their English equivalents. Count and Countess, for example, instead of their usual Russian equivalents. On the other hand, as I explained before, I had Aksinya use the Russian for "shut up" to drive the reader back into the idea of the use of the Russian language. As they move into Austria, I want the reader to be constantly reminded that this is not Russia, it is Austria. I can't imagine a better what than to refer to the correct Austrian names for places and people's names. Also, the use of stra(sset)e instead of road. So, in conclusion, the knowledgeable reader will know that Wien is Vienna and all it's cultural associations (which will come out in the writing)--about 20%. The not as knowledgeable, but curious will look it up and figure out what is going on--about 30%. The entertained will just think it is a place in Austria and make the association at some point in their life. That might make them want to reread the book to see what they might have missed--about 30%. The rest of the readers will assume it is real or imaginary and just enjoy the story--the remaining 20%.
2. Why did you say demon wants "more scope to torture Aksinya? I'm aware the demon attacks her.. tied directly and indirectly to her actions. But, inflicting torture evokes the idea of punishment or pain to get info or to coerce another to/away from a certain a certain actions without tortured one able to make an decision of 'free moral agency' w/ consequences know a priori...which is vastly different. I'm not certain where I write about this in the story, but the demon does say it directly more than once:
1. His job is to do evil in the name of Aksinya--if she will not do evil or not order him to do evil, he will take it into his hands to force her to it. That is his purpose. This is torture enough for a normal soul, but there is more...
2. He is allowed to torture those who do evil. So every time Aksinya accomplishes evil, that gives the demon further latitude to torture her. This small detail has not been revealed before, and is a major revelation about the book. This is the expanding tragedy that is Aksinya, by following the dictates of the demon, she causes herself further suffering. In other words, there is no way she can save herself from the demon.
Part 43 The Arrival at the Gymnasium
1. Interesting choice of name for the girls' gymnasium, Sacré Coeur; I think that's French for Sacred Heart. Why a French language catholic school? I realize Austrian aristocracy sent their children to French speaking schools preparing them for University; but, why choose a Catholic place? Seems like a 'religious' place is the last place a demon would want the girls. Very good sleuthing. Sacré Coeur does indeed mean sacred heart in French. It is the name of a real convent and girl's school in Wien (Vienna). Where better than the heart of Christ would there be for a demon to do evil. What better Trojan Horse than a pitiable young countess who was driven from her country. Here is a revelation, the demon will attempt to bring down the school and the convent from within and without, but that is simply a sideline to his main goals.
2. Also interesting to note, 'sacred heart' is a devotional name used by Catholics to refer to the physical heart of Jesus Christ (as a symbol of divine love), and often associated w/ asceticism..a far cry from compulsion & temptation the girl falls into..in pursuit of luxuria. (I'm guessing, the school name, and environment was purposely chosen, for juxtapositional purposes.) You are right on the money. I didn't intentionally skip over these associations--as I mentioned before, I try to explain the multi-levels of the writing as well as I can, but I will certainly miss some of my own key points. Many of these will come out later in the text in a more complete revelation.
3. Finally, interest why Freifrau Bockmann, while making a running commentary on the school, and say... “...across from the church is the school... I mean the gymnasium. That is such a new term for me. It was always just a school when I attended there.”
Why did she call it a 'new term/? My understanding, the gymnasium was the model of German-Austrian schools since the 16th century; and in 1812, a Prussian regulation ordered all university prep schools bear the name of gymnasia. And, by the 20th century, this practice was followed in almost all German states, in Austria and in Russia. Would imply, in Wien, schools were called gymnasiums, preceding Freifrau Bockmann's own childhood, and training at that very school. Am, I missing something? When Freifrau Bockmann went to Sacré Coeur it was simply as school for girls. By this time it was a gymnasium for girls. Perhaps I need to clarify. I did try to convey this point in the text and I might have mentioned it before. There were no gymnasia for girls until the 19th century in Germany and into the 20th century in Austria. Therefore when Freifrau Bockman went to Sacré Coeur, it was a school and now it is a gymnasium for girls. As I understand it this is also historically correct for the actual Sacré Coeur in Wien. Note also, instead of Baron and Baroness, I use Freiherr and Freifrau. I would have liked to use Baron and Baroness, but I use the Austrian terms to place you in Austria. Harder for me, but, I hope, a scene setter for my readers.
New section in the chapter with a break. So we move on to the school itself and their incorporation in it.
Freiherr and Freifrau Bockmann left Aksinya, Natalya, and Asmodeus and took their coupe back to their estate at the edge of the city.
That afternoon Aksinya and Natalya received a pair of uniforms from Frau Drescher. To her credit, she chose clothing that was not too worn or faded, and the uniforms fitted the two of them reasonably well. After Natalya was finished with them, they were perfect. The stains were gone and the fitting was perfect. They flattered both of them. The uniforms were classic grey woolen skirts that reached to the ankles with a black belt at the waist. The blouse was made of white silk with some gentle lacy frills at the collar. For the winter seasons there was a grey short coat and a grey sweater. The shoes were button-up black brushed leather. Asmodeus gladly found shoes that matched Aksinya’s requirements from his large chest. He brought out the basic items Aksinya requested from him.
Okay, I couldn't find out the exact uniforms that Sacré Coeur used at this time, so I did some research and used the model of a typical convent school uniform for the time in Austria. The style is typical convent mixed with a little Art Deco from almost a decade before. If you note, we get again the perfection that is Natalya. She knows exactly what to do domestically and as a lady-in-waiting.
Just a short piece to round out the questions I answered. In the writing, I am at chapter 13 and almost finished with it. I have been so busy, I haven't had much time to write, but I intend to finish this chapter and go to 14 today. I have the rest of the book outlined, and I know where it is going--the devil (demon) is in the details.
In fact, a little about where hard points come in the writing. The last pieces for me were difficult. I don't like to have to set every bit of the scene, but I know it is critical to the novel. Once the scene is set, you can then write directly to the storyline, plot, and theme. You will see this direct detail in the next section of this chapter, that is chapter 6. In chapter 13, I had a heap of description, plus a lot of introductions. The description is necessary, the introductions are critical. Introductions in this cultural period are the lubricants of society. Therefore, the detail I put into this novel must show you these introductions. As we will see (have seen) the way introductions are made are critical to pick up on many of the deeper details of the story. To pull all this together, once the details of the scene are set, the author is free to then let the players move around in it. The hard part is the scene, the easy part is the play of the novel within it.
Thursday, November 18, 2010
A New Novel, Part 46 Languages and Friendship
Welcome to Dr. Ryan. Glad to have you aboard.
We get rid of Frau Drescher for a little while and provide a little more interesting levels to the story. Remember, in this time and culture, you don't introduce servants. So here we go.
Frau Drescher’s brow rose, but she nodded and curtsied to Aksinya then left toward the dormitory.
The Reverend Mother let out a sigh, “Will you all please come with me. I’ll show you around our school and answer any of your questions.” The Reverend Mother gestured Aksinya to her side and Natalya stepped right behind her.
Aksinya halted and turned toward Natalya, “Reverend Mother, this is my lady-in-waiting, the Lady Natalya Alexandrovna Obolenska. I address her as the Lady Natalya. She is my confidant and my friend. She will be attending Sacré Coeur with me.”
The Reverend Mother’s smile widened. She turned her gaze to Natalya, “That is very interesting. Is there something wrong with your eyes, Lady Natalya?”
Natalya blinked the moisture from her eyes.
Aksinya repeated the question in Russian to Natalya.
Natalya blushed and ducked her head, “No, Reverend Mother.”
Aksinya continued, “The Lady Natalya doesn’t speak German yet. She is very conversant in French. Though she serves me, the Lady Natalya is to be treated with the same respect as any other student.”
The Reverend Mother nodded and continued in atrociously German accented French, “Then for her benefit, as well as yours, we shall use French.”
Aksinya barely constrained a laugh. She glanced at Natalya, and they shared a smile. Aksinya whispered to her, “Perhaps I shouldn’t worry about my German.”
From the beginning, the RM (Reverend Mother) is happy to get rid of Frau Drescher--she sighs, and we move on with Aksinya, Natalya and the rest on the school tour.
So, there you have it. First Aksinya, introduces Natalya--that means she is not a servant. Further, Aksinya called her "confidant" and "friend." In the aristocracy, this is very important. A friend is one thing, a confidant is entirely another. Aksinya goes on to tell RM Kluge that she, she Aksinya calls Natalya, Lady Natalya. Already, Aksinya has called Natalya, friend, confidant, and said she holds her in such high esteme she calls her Lady (that is a title reserved for an aristocrat). It should not suprize you that the very emotional Natalya's eyes moisten. She would cry outright, but that is never acceptable in high society. The RM kindly reminds Natalya of that. This is a nice admonition in this culture and time (remember Frau Drescher). And so, Natalya blushes and ducks her head.
Aksinya goes on to instruct--did you get that? She instructs RM Kluge that Natalya is to be treated like any other student. She didn't say, "to be treated like me." Such words wouldn't come from a Countess. She also "suggests" that they use French, for Natalya's sake. Can't you see Natalya in your mind. She understands what is happening. Aksinya even gives her such a compliment, "Natalya doesn't understand German--yet." The implication is that she will and very quickly.
Then we see the break and the level of the RM's French. This is intentional. Though the Austrians and the Germans taught French, they didn't see much purpose in it--(sarcasm) it was only the language of gentility and diplomacy at the time. It was also the language of the Russian Court. It was not the language of the German or the Austrian Courts. Ah, the prejudice of their betters flows down to the people. The break is the smile that Aksinya and Natalya share at the RM's poorly accented French. This also cements the Aksinya/Natalya bond. Finally, Aksinya's comment about her own German ends this piece.
We get rid of Frau Drescher for a little while and provide a little more interesting levels to the story. Remember, in this time and culture, you don't introduce servants. So here we go.
Frau Drescher’s brow rose, but she nodded and curtsied to Aksinya then left toward the dormitory.
The Reverend Mother let out a sigh, “Will you all please come with me. I’ll show you around our school and answer any of your questions.” The Reverend Mother gestured Aksinya to her side and Natalya stepped right behind her.
Aksinya halted and turned toward Natalya, “Reverend Mother, this is my lady-in-waiting, the Lady Natalya Alexandrovna Obolenska. I address her as the Lady Natalya. She is my confidant and my friend. She will be attending Sacré Coeur with me.”
The Reverend Mother’s smile widened. She turned her gaze to Natalya, “That is very interesting. Is there something wrong with your eyes, Lady Natalya?”
Natalya blinked the moisture from her eyes.
Aksinya repeated the question in Russian to Natalya.
Natalya blushed and ducked her head, “No, Reverend Mother.”
Aksinya continued, “The Lady Natalya doesn’t speak German yet. She is very conversant in French. Though she serves me, the Lady Natalya is to be treated with the same respect as any other student.”
The Reverend Mother nodded and continued in atrociously German accented French, “Then for her benefit, as well as yours, we shall use French.”
Aksinya barely constrained a laugh. She glanced at Natalya, and they shared a smile. Aksinya whispered to her, “Perhaps I shouldn’t worry about my German.”
From the beginning, the RM (Reverend Mother) is happy to get rid of Frau Drescher--she sighs, and we move on with Aksinya, Natalya and the rest on the school tour.
So, there you have it. First Aksinya, introduces Natalya--that means she is not a servant. Further, Aksinya called her "confidant" and "friend." In the aristocracy, this is very important. A friend is one thing, a confidant is entirely another. Aksinya goes on to tell RM Kluge that she, she Aksinya calls Natalya, Lady Natalya. Already, Aksinya has called Natalya, friend, confidant, and said she holds her in such high esteme she calls her Lady (that is a title reserved for an aristocrat). It should not suprize you that the very emotional Natalya's eyes moisten. She would cry outright, but that is never acceptable in high society. The RM kindly reminds Natalya of that. This is a nice admonition in this culture and time (remember Frau Drescher). And so, Natalya blushes and ducks her head.
Aksinya goes on to instruct--did you get that? She instructs RM Kluge that Natalya is to be treated like any other student. She didn't say, "to be treated like me." Such words wouldn't come from a Countess. She also "suggests" that they use French, for Natalya's sake. Can't you see Natalya in your mind. She understands what is happening. Aksinya even gives her such a compliment, "Natalya doesn't understand German--yet." The implication is that she will and very quickly.
Then we see the break and the level of the RM's French. This is intentional. Though the Austrians and the Germans taught French, they didn't see much purpose in it--(sarcasm) it was only the language of gentility and diplomacy at the time. It was also the language of the Russian Court. It was not the language of the German or the Austrian Courts. Ah, the prejudice of their betters flows down to the people. The break is the smile that Aksinya and Natalya share at the RM's poorly accented French. This also cements the Aksinya/Natalya bond. Finally, Aksinya's comment about her own German ends this piece.
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