amyselia

THE CHILDREN’S SOCIAL COLUMN

Active since 1827

 

1st Article:

The Tempore of 1856: New & Improved by Her Majesty’s Aster Court

 

 

The Debut of 1856.

 

Catherine Anastasia, Princess Imperial

The Imperial House of Novellen

Year of Birth; 1838 

 

The Princess Imperial came out with a beautifully tailored eccentric gown befitting of her status. She walked with pride and dignity, fitting for her role as the eldest of the Imperial Household. The Princess Imperial also wore, alongside her elegant gown, the famous sash of Ophelia worn by many members of the Imperial Household, including Empress Lorena. Her Imperial Highness received high praise from her mother, stating “You have grown into a beautiful, intelligent woman.” and “I look forward to your future serving our empire as a member of the Imperial Family.” We at Petite Potins truly applaud the Princess Imperial on her elegance and her intelligence. 

 

Below the notes is written in a child’s print:

“ NERD - lysa “

 

Laurentina Marigold 

The Ducal House of Helvets 

Year of Birth; 1842 

 

After the Princess Imperial was the supposed jewel of the season. The Helvets came out with a golden-orange gown with rubies and pearls adorning her person. She walked with the grace one would expect from someone whose un-glassed eyes could hardly make out the debut floor before her feet, wobbly and unsure. As she approached the dias, her Imperial Majesty called upon her, stating how she reflects her house well, though we wonder if she wasn’t lauded simply to please her miserly brother into a marriage with the Princess Imperial. The children of Petite Potins would’ve liked to see more from the Ruby, but it’s not easy to outshine a ducal bachelor during his tempore. Besides that, her gown served orange peels and creme facial masks.

 

Anne Josephine 

The Ducal House of d’Arkent 

Year of Birth; 1836 

 

Lady Revel d’Arkent wore a black velvet dress embroidered with rose designs, channeling the rebellion of Claude Pruvia’s debut. On her head, she adorned the tiara of Tatiana of Alban, a former duchess of Sunholdt. It seems like even new jewelry is too expensive for the waning and displaced Sunholdt family. To many in the court, including us at Petite Potins, think the Lady d’Arkent better resemble her late grandmother, Josephine Augusta, who she can thank for her bulging lower chin, much like the horse that Prince Peter brought in a few ladies after! Nonetheless, she was praised by her Majesty: “Quite stunning, Lady Anne.” Is this true..? Tell us readers!

 

Analiese Juliana 

The Ducal House of Azor 

Year of Birth; 1837 

 

The first to walk towards the dias out of the two d’Azor ladies debuting this evening came out with a silk gown. We did notice before coming out that the Lady Analiese Juliana d’Azor appeared to be nervous once her name was called, freezing for a second. This sort of composure is expected from the d’Azors women, who have seemed to fade into obscurity during the transitional regime, leaving them without an audience to practice their speaking with. Like her fellow debutantes, the noblewoman offered a lowered courtesy before standing up being praised alongside her cousin that “You must offer your seamstress my compliments”. A most proud family! We too here at Petite Potions are truly amazed by Lady Analiese’s etiquette. 

 

Madeline Rose 

The Ducal House of Azor 

Year of Birth; 1832 

 

The second to walk towards the dias was Lady Madeline Rose d’Azor-Vuiller. The blonde maiden adorned a light blue gown and a more darker blue colored sash around her waist. She also wore silver jewels which are allegedly imported from Aeldin, although imports from the continent seem a curious oddity during wartime, which beckons the question of the material’s true origin. We hear the dwarves’ silver mines are plentiful in the winter months.... Like her relative, she also had gotten high praise from her Imperial Majesty while she walked towards the dias, but a certain Rev Vuiller broke it all down when he displayed a gross performance of tears on behalf of his step-daughter. Get a grip!

 

Annabelle Augusta 

The Comital House of Novellen-Huntshill 

Year of Birth; 1840 

 

The first of the two Huntshill sisters was Lady Annabelle Augusta. The young heiress walked out with a beautiful maroon gown with a velvet red sash around her waist. The empress offered the heiress praise alongside her younger sister, then asking a question: “Tell me lady Anabelle, what do you wish for in ten years to come?” She responded:“I plan to bring forth my family and household to new heights, serving the Empire with my all. Endeavoring in efforts of expansion for our accomplishments. In all, strive for the ability to protect and serve our great Empire, and of course my own family.” What a boring response from a boring Novellen. Challenge-less lives truly do make women mundane. Nonetheless, she was later seen to be jealous of Lady Laurentina getting ruby. We hope that the Heiress doesn't do anything brash and foolish out of spite (do it Annabelle).

 

Catherine Marie 

The Comital House of Novellen-Huntshill 

Year of Birth; 1842 

 

The second of the two Huntshill sisters was Lady Catherine Marie. She well adorned herself with a red gown, matching with her elder sister, whose question she was haphazardly slung over like leftover cake. We assume this is a common occurrence for her, the dejected rival of the heiress. To it, she responded: “I wish to marry someone who has a large library.” The empress seemed quite disapproving of such a dream, critiquing how she could create her own library and marriage shouldn’t come first to her own endeavors. That critique made us wonder where the Empress would be now without her marriage, but even so, what does Catherine bring to the table on her own if she has her nose stuck in a book all day?! Let us hope that Huntshill will learn from this and become better. 

 

Eloise Helen 

The Comital House of O’Rourke 

Year of Birth; 1831 

 

After the two Huntshill sisters, Lady Eloise Helen sported a classical ivory dress with pale blue silks - an aged reference to the Social Seasons of Augustine past. However, she was suddenly interrupted by the Prince of Providence on HORSEBACK, the lady staring the creature directly in it’s arse as she strut towards the dias! The Prince paid her no mind or apology, securing Eloise’s place in the imperial running beneath the dirt under the horse’s hooves. Her Imperial Majesty seemed quite annoyed but quickly brushed it off, apologizing to Lady Eloise before praising her for clinging onto traditions by the late Princess Imperial, Elizabeth Anne. We think the Empress was gritting her teeth beneath her words, for why would the O’Rourke insult the new themes of Astercalia? After the empress gave her compliments, Eloise not only responded in Elven, but also New Marian and Common! What an obtuse and quirky girl… One might wonder where exactly she picked up the elven tongue. Her high-elven features do not help her in that regard.

 

Countess Amadie Marléne 

The Comital House of Pruvia 

Year of Birth; 1836 

 

The first of the Madames de Provins entered with a beautiful gown reminiscent of the Nouveau Savoie fashions, adorning herself with all sorts of jewels and silks. She wore the ancient Diadem of Pruvia, fitting for such a graceful Countess! It is a shame she is already engaged to those poverty-ridden Carringtons, for this could’ve been quite a catch this season for any eligible bachelor. Ignoring her completely (likely due to her betrothal), the Empress spoke with Lady Sophie, who happens to be about the same age as her eldest! Countess Amadie and her other younger sister, Lady Anastasie, were both praised for their beauty to make up for being shunned. On the sidelines, their mother Claude bore a grimace. They’ll await punishment for their imperfection when we get home, we all assume.

 

Anastasie Thérèse 

The Comital House of Pruvia 

Year of Birth; 1839 

 

The second daughter of the Madames de Provins came out with a beautiful gown like her elder sister. Standing on the Countess’ left flank, she too walked in a unison of three, mirroring the earlier Madames de Savoie. The Auvergnat women always know how to put on a good show! She wore a white gown and a laurel around her blonde locks, who she inherited from GOD knows who! After the Empress spoke with Lady Sophie, Anastasie was given high praise of her beauty like her older sister Lady Amadie. Everyone knows that blondes have more fun, though we hope she isn’t as ditzy as the Countess Renzfeld, who she mirrors in her foul attitude and decorous fashion. Surely, Anastasie is an Amadea to come. Whether that is a good or bad thing, we shall have to see…

 

Sophie Cléméntine 

The Comital House of Pruvia 

Year of Birth; 1842 

 

The last and youngest of the Madames de Provins stood out the most of her sisters. Donning a shining chestplate around her beautiful azure gown. Walking in complete unison with her sisters while all three approached the throne, her Imperial Majesty, out of nostalgia when she wore armor at her showcase within the Social Season, questioned the Pruvia on her outfit choice. Pruvia gave out a long explanation which seemed to impress her Imperial Majesty, but her response took so long to form, we wonder if the girl’s brain is rotting from too much commendation! Besides that, some of us do think that Lady Sophie surely should have gotten to the runner up for the Ruby of this season compared to Lady Laurentina. 

 

Ioanna Elisheva 

The Viscomital House of Basrid 

Year of Birth; 1842 

 

After the Pruvian horde was Lady Ioanna, walking in with a tight-fitted iron corset akin to the wanton Maude of Copper Court, mistress to Emperor John II. However, she added an interesting detail in the brandishing of a shield. When asked by her Imperial Majesty why she took on the shield, Lady Ioanna explained that it was a tribute to her late grandmother, the Princess Imperial, Elizabeth Anne. The tribute seemed made up on the spot, however, as the Princess Imperial never wore such attire, which looked more like the clothing of renatians. After the explanation, the Empress seemed impressed and was heard saying: “May you one day walk in her footsteps.” Why! Such high praise! One wonders if she’ll live up to it.

 

Théa Helaine 

The Baronial House of Halcourt 

Year of Birth; 1840 

 

Thea Helaine! What an interesting girl! Not really. She walked well like all the others, but was rumored to be wearing Maude Fitzpeter’s debutante gown. Is it a trend for the Fitzpeters to pass down their rags to the lower noblesse? We wonder why the revived House of Halcourt would ever acquaint themselves with a non-ennobled house, especially one as foul-to-the-mouth as the Fitzpeters. Despite this, it is also alleged that when the Halcourt walked towards the dias, her Imperial Majesty told the young girl that the Baroness Artois would have been proud. 

 

Coraline Antonia 

The Baronial House of Carrington d’Arkent 

Year of Birth; 1840 

 

My. My lord. Have the Carringtons gone mad, or have they just always been so? To think that the Baron Carrington would allow his daughter to wear nothing to her own debut! Such a shame! The crowds within the throne room were in utter turmoil, and the Empress’ face was nothing short of unamused when that Madame Rothesay wannabe stepped onto our courts. We cannot allow such promiscuous and unethical behavior to be allowed within the Aster Court, like the cursed courts of New Helena. Think about us, the poor uncorrupted children of the City of Providence. I heard my friend say that she’s going to start wearing shoulderless dresses…

 

Bianca Mariya 

The Baronial House of Sarkozy-Pompourelia 

Year of Birth; 1838 

 

Lady Bianca waltzed into the court with her head raised high wearing the styles of the haeseni! We would greet cultural exchange with applause if it made sense, but frankly we wonder if the raevir Adrian monarchs of yore ever worse kokoshniks in the haeseni style. Regardless, her dress was a beautiful reprise of the northern cultures in Oren, with some illatian accents in the sleeves no doubt attributed to her Montelliano parentage. We see a bright future in stock for the girl, and for the bountiful- if not excessive -numbers of the Sarkozy family, especially in marriage, as we have overheard many bachelors whispering of the vesnan curves attached to the name of Bianca.

 

Elspaith Caitrin 

Sponsored by The Foreign Royal House of Savoie 

Year of Birth; 1842 

 

Has the Royal House of Savoie gone very pious or very basic? The sponsored foreigner walked into the court with a plain and boring maroon gown of the Savoyard stylings, except an imperialized corset. One wonders if she hasn't just come out of a convent of murder nuns! While she walked up to the dias, she tried so hard to conceal her accent, many debutantes cheered her on in a united front. The imperial women are the most benevolent around, no doubt about it. 

 

Clairessa 

Sponsored by The Baronial House of Halcourt 

Year of Birth; 1839 

 

Clairessa was slightly timid in her debut, but her sweet-cheeked innocence and juvility made her a fan-favorite among the court, as well as among the judges, who appointed her one of the three in the running for the choice of the ruby! A commoner arisen from seemingly nowhere, Clairessa is expected to do great things in the future, and the House of Harcourt's sponsorship has styled her up to possibly even be a future lady… We shall see how Clairessa fares!

 

Chloe Giselle 

The Baronial House of Rosius 

Year of Birth; 1838 

 

The de Rosius girls came into the debut in matching tones of greens and browns, channeling the new Campagnois culture’s forest affinities. Theirs was a wonderful display of cultural pride, another exemplar of the various identities within the borders of Oren. However, beside their gowns, their debut was utterly forgettable. The one thing everyone wanted to speak about was the lightening of Chloe Giselle’s skin! It matches her complexion and dress quite beautifully, although we wonder where exactly this condition arose from? Perhaps because it was nearing the final moments of the debut, no one remarked on the girl’s unique ailment!

 

Elara Sylvie 

The Baronial House of Rosius 

Year of Birth; 1840

 

Beside her sister was Miss Elara de Rosius, straps of ribbons and fabrics making up her beautiful green dress. She did a splendid job of standing out from her sister, which is deeply necessary because of their crazy resemblance! Elara mirrored the House of Rosius in her debut, simple, ethereal and majestic. There isn’t much else to say about her except her good mannerisms and presentation!

 

Miss Giuseppina 

Sponsored by The Baronial House of Carrington-d'Arkent 

Year of Birth; 1842 

 

Miss Giuseppina wore white! A bold choice it was to stand out against the new regulations, which would have entitled the culturally-rich house of Falcone to stand out in their colors. Instead, she donned a veil and a fluorescent ensemble of golds and cremes. The only thing which was of great interest was her being sponsored by the House of Carrington-d’Arkent. A jewel out of the muck of water! Overall, Miss Giuseppina seems to have a high intelligence! So perhaps instead of her beauty, it will be her intelligence which shines the brightest among the ladies. 

 

 

The Ruby, Laurentina Helvets, beside the Countess Vanderfall.

 

An astonishing choice is displayed by both Her Imperial Majesty and the Countess Vanderfall as we witness their pick for the gold laden Helvets to represent the Ruby, the maiden of the Empire and of the House of Helvets. We believe that she is all deserving of such a title, for her efforts for the empire in recent years have been much to spirit the morale of soldiers! However, the 'Ruby' itself is what is questioned this season. Is it her grandeur displayed in her clothing or  the way she walked that made her be chosen? We would like to know! The Ruby has always been a rather ambiguous choice, as there is always girls begging to know why a certain lady was chosen over the other. Perhaps, alongside the Astercalia reforms, the position of the Ruby should be more clearly defined and elevated upon their announcement!

 

 

 

The Imperial Dynasty had quite a row yesterday following the Astercalian debut! It all started with Princess Anna, who began her usual anti-Pruvian dramatics when spotting her brother, Prince Peter, beside the Provins sisters. Peter began to take her side, leading to Sophie’s heated accusation that Anna was an unholy girl! When the moment got much too tempestuous, Princess Amelia cut in, attempting to demand obeisance of her nephew. Peter would have none of it, and the growing crowd witnessed his reprimanding of his aunt, screaming that she didn’t know who she was talking to! The next thing we know, the imperial family is being dragged off by their earlobes!

 

What happened afterwards? Potins readers are free to speculate on the theatrics of the imperial family…

 

 

 

The opening ball of the tempore! Named for the Countess of Renzfeld, the Amadistus was packed with pairs of couples all night. We got a brief look over people’s shoulders to look at dance cards, and collected the the most illustrious matches. They included a Duke, a Ducal Heir and an Imperial Heir, all enchanting the room with their lordly presences. We must never promote girls to be marriage-chasers, but this is the most exciting race in years! 

 

 

The Princess Imperial danced with both Dukes (a determined girl - GO KITTY), making us envision a future for her as a Duchess of one place or another. Deservedly so, though the girl will gain her own title without marriage whatever she pleases. Close in the running was Sophie Pruvia, followed by Laurentina Helvets, Ioanna Basrid and Anne Josephine!

 

It amazed the Potins of this Tempore that the Duke of Sunholdt was more popular than the Prince of Providence himself among the ladies, filling the list of many a potential wife. The younger Peter A. must step his game up if he wishes to secure an empress before he is forced in the Imperial State Army…

 

Besides that, there wasn’t much drama enhoffed in the opening ball. A shame to all the do-goody debutantes out there!

 

 

The Baroness of Halcourt is caught in a tizzy with two bachelors this tempore, the fabled bastard of Prince Philip and Mary of Carrington being one of them. A pale boy with a disgusting facial scar, he seemed heartbroken when she was asked to dance by Richard d’Azor before his very eyes! That d’Azor is a BOLD fellow, though we suspect it is the politician’s soul that makes him reach for what he wants without regret! Will we be seeing a baronial marriage in the works for the lady?

 

 

It is almost a given that an unmarried heir within the tempore will have women flocking to him, but it seems the stalwart heir to Cathalon would have none of it! He refused the hands of various ladies for dances, only allowing a discreet Princess Imperial to be his first dance. WHEN WILL THIS HEIR MARRY? He may as well die a spinster if he will not take Princess Catherine’s hand. However, we do note that imperial marriages with Cathalon have been a place of tumult in the past to say the least. Perhaps the new pair can revive the idea, whilst they work on reviving the Duchy to its rightful place?

 

The Imperial Scrivener’s Office©.

The People of the Ville de Campagnon

Adjective: Campagnois (m); Campagnoise (f)

 

 

Campagnois is a subculture of heartlanders, the hinterland sister of the luxuriant Auvergnat of the upper human aristocracy. The culture originates from the movement of the Auvergnat houses from the Kingdoms of Vandoria & Lotharingia to the modern Oren, carrying with them their respective servants and bannermen. The name is derived from the Ville de Campagnon, a project by the efforts of the Houses of Pruvia, Halcourt and de Rosius. 

The Campagnois are people of the natural earth that live for sentiments wrought from their connection to spirituality. In seeing nature with emotion, they have become highly superstitious, with various practices in their culture deriving from the mysticism of magical phenomena that they understand to be tied to nature rather than separate from it. Many Campagnois have never left the sanctity of their rural homes, leading to the development of bosomed communities, bearing frigidity for outside custom or intrusion. On the exterior, they may appear almost paganistic, but their religion is that of the canon.

 

Because of their roots in the natural, the Campagnois appreciate and are steered by raw human emotion. Their outlook on an ideal lifestyle is one in which no regrets are paid on one’s death. Duels, murders and turbulent displays are a casual occurence to them, and they are hardly a shy or docile people as a result. Foreigners looking in often feel overwhelmed by their practice of la bise, or their freedom in intimacy with strangers. This intimacy translates into their customs, events, government structures and more.

 

“Nous vivons libres, comme Dieu le veut”

We Live Free, as God Intended

 

In the ancient Godfreyan era of the Empire, various proto-Campagnois peoples inhabited the world. They went by various names: the Auvergnians, lead by the Valois; the Relourians, lead by the Halcourts; and many others vying for cultural hegemony. This was the first blossoming of the culture, the spring of the Campagnois at the dawn of time, which was centered across the world, but especially in the Kingdom of Salvus. 

 

 Ancient Campagnois influence, for example, was deeply ingrained in Old Savoy, under King Olivier of Reformed Oren. This was the nature of the proto-Campagnois. As each century of unstable feudalism continued, the diaspora spread to the far reaches of the world, keeping ancient traditions alive in the midst of ongoing strife. This was a dark age in the history of the Campagnois, since there was no unity -- yet another winter…

 

This dark age of our culture ended after the Horen Restoration. The Johannian era was a period during which the second age of the Campagnois began. A new Savoy was founded in the swamplands; Lorraine, with its bastion of Campagnois culture, Metz, flourished, later becoming Lotharingia; Old Artois thrived as an island fortress, the ancient home of the Halcourts secure once more. 

 

Campagnois leaders achieved great rank and renown. Generalissimo Augustus d’Amaury led the Imperial forces to victory in endless wars; Minister of the Interior Sylvester Halcourt oversaw the settlement and administration of those new lands many decades later, including Imperial dominion over all of elvenkind during the reign of John III; and overall, we thrived. Alas, the Courlandic host brought the Johannian empire to its heels. Johanessburg turned to nuclear dust as thanhium bombs destroyed the Empire -- and our culture ended another dark age. The diaspora settled in Curon, Renatus, Marna, and elsewhere, keeping our traditions alive. 

 

Later, during the reign of Aurelius I, the Campagnois experienced another winter -- another dark age. A notable center of our culture at the time, a light in the darkness that led us into another spring, was the Ville du Baltas, whose leaders, the House de la Baltas, revived the County of Auvergne. As time went on, the culture neared its death… With the House de la Baltas keeping our traditions and identity alive in this dark age, our culture lived on, making it to the next critical stage in our history!

 

It was not until the reign of Peter III that the Campagnois experienced another golden age. A number of major noble houses thrived: Provins, Halcourt, Montagne, Allard, and many others were ennobled in the Crownlands and in the Provinces during this period. They rose to great ranks, and their heroes are too numerous to name. This was one of the strongest points in the history of the Campagnois, and it is the period that directly predates our lives today. When we settled Providence many decades later, we inherited our good position and stable leadership from these forefathers. A thousand generations of Campagnois have secured our place as one of the staple peoples of the Empire, dedicated above all to service and excellence.

 

To the Campagnois, forests represent mysticism, convergence with the spiritual and holy energy. Upon settling beside the forests of Dobrov, the culture of the Campagnois became exceedingly mystified as further magic phenomena remained unexplained. Magical occurrences become superstition, and a new understanding of the world was created as a result. Many rites of life are held within forests, where this fantastical energy resonates the most, but also where various beasts of legend are said to live in obscurity.

 

Le Prince de l'Hiver et la Fée du Givre

The Winter Prince and the Frost Fairy

 

Hawthorn flowers in particular hold immense cultural significance to the Campagnois and play a distinct role in many of their rites and traditions. These flowers, alternatively known as May-blossoms, grow on trees of sturdy woodland bark and are used in Campagnois culture to fend off evil spirits. Hawthorn trees are widely believed to be host to communities of fairies, which are the physical manifestation of the wandering spirits of Saints. These fairies serve as a reminder that the Saints live among us, and their presence is a great comfort to the Campagnois people. Hawthorn fairies are trusted as great judges of character.

 

[!] Attached is the chart of fairies. (WIP…)

 

Fairies are not the traditional winged pixies, but rather, gnome-like grandfatherly creatures of petite stature, with halos of gold and herbs floating around them. They are said to possess magical abilities according to their saintly patronages, and are said to be summoned with the use of hawthorn and prayer.

 

Nature & Subsistence

The Campagnois exist in communities tied to the serenity of nature, wishing to distance themselves from the hustle of the capital cities they’ve been tethered to for their entire history. They value the life and death of each animal with reverence, as they provide the Campagnois with the resources they need to survive. The Campagnois are thus often equestrians and falconers by hobby, adventurous and brave. By trade, they are farmers, fishermen, hunters, and nature artists, etc… They rarely yearn for pomp and luxury, as they are expected to be active in hunting and blood sports to balance the wellness of the soul.

 

A collection of gentlefolk at leisure beside the river Petra, 

with hawthorn flowers surrounding them.

 

Fidelity

The Campagnois are a community-based culture that thrives off of close-knit bonds and interactions. Every Campagnois knows the other, and everyone treats each other as family. Outsiders be damned. The number one rule is not to betray their traditions. They love their culture and heritage, and their bonded community tends to allow them to express their feelings quite openly without worrying about being judged, which tends to also make them brutally honest and rather trustworthy people - except to outsiders.

 

NOTE: The social hierarchy and gender roles of the Campagnois are derivative of the nouveau; all are tried and tested under god as equally capable of greatness.

 

Vanity & Passion

The Campagnois are driven by excellence, whether it be aesthetic excellence, skill, reputation, etc. However, this does not always translate directly into individual ambition, as the Campagnois’ first love is their community, and thus their zeal is for their culture and customs and not necessarily for personal achievement. They desire to be the best of all people and thus must outdeliver in this expectation. This means that when they commit to something, they behave as enthusiastic idealists with zeal that empowers them.

As a result, they are stalwart personalities, engaging with each other with unmatched sentiment and energy. 

 

Romanticism

The Campagnois are a people motivated in all things by passion. The unique hardships they have endured paired with the defiant triumphs they have achieved have both forged a culture characterized by intense romanticization of everyday moments in life. They are universally known for their dramatic declarations of love, public spectacles of hate, duels, weddings and more, all orchestrated to be boisterous and loud. Scandal is hardly hidden away, and is instead embraced and commanded punishment of in public shamings.

 

La Bise

La bise is a common greeting across the Campagnois. One places adjacent kisses over either of a person’s cheeks as a custom of introduction when entering any room. This is done as a way to break the ice, as well as to welcome closeness between people.

 

La chasse à la communion

La chasse (common: the hunt) is an introductory event used to welcome diplomats, foreigners and cultural assimilants to the Ville de Campagnon. It is planned months in advance of the person’s welcome, for a specific legendary hunt must be chosen from among the many beasts of the valleys and forests, and hunting grounds are thoroughly examined to ensure the safety of the chassiere (the name for the foreigner). When walking among the forests, the foreigner is introduced to campagnois superstition by the Hunt Master, who explicates the significance of the forest and the sanctity of the exchange of life with the beast to be caught.

 

Rite of Maturity - The Seasonal Prince(ss)

The Seasonal Rite  (La Maturation Printanière/Estivale/d'Automne/Hivernale) is celebrated as a rite of maturity lavished upon all Campagnois youths. It involves a series of successive tasks over the course of a year that then culminate into ‘La Couronne’, the fête in which these challenges are weighted by the presence of the seasonal fairy for success and zeal. The fairy chooses the most ardent and spirited practitioner of the rite and what it stands for, and names them the Seasonal Prince(ss) and places the seasonal wreath upon their head. The tasks are chosen by the eldest of all living Campagnois, and are bestowed upon the children without bias or blunder.

 

For the Printanière, the Spring Fairy appears - the spirit of St. Noah, the saint of spring.

For the Estivale, the Summer Fairy appears - the spirit of St. Richard, the saint of deserts.

For d’Automne, the Fall Fairy appears - the spirit of St. Malcolm, the saint of storms.

For the Hivernale, the Frost Fairy appears - the spirit of St. Joren, the saint of Winter. 

 

Rite of Baptism - The Children’s Foal

Children are gifted foals at age five, the same day of their baptism, so they can learn to ride them proficiently from a young age. Children are mounted unto their foal and baptised beside it, symbolic of their binding to the creature under GOD’s light. Typically, this horse is white, as white horses have a superstition of good luck and god’s blessings tied to them. These foals are trained to be experts at maneuvering different terrains, helping the Campagnois accomplish a plethora of quotidian activities.

 

Rite of Courtship - Valerian & Hawthorn

Or otherwise: Valériane et Aubépine

Valerian is an important flower associated with love and courtship. It is the flower of a budding romance. As per tradition, the Campagnois typically engage their children in betrothals, but for those instances during which betrothal does not occur before marriage age, courtship is a specific set of steps.

 

The process of courtship as followed by the Campagnois is initiated by the young man, who collects Valerian flowers into a wicker basket from the hills of Campagnon and douses them into Pruvian Port wine. The wine bottle and flower bouquet is then gifted to the mother of the lady on whom he has his eyes. This must be done within a few hours of the flowers’ collection, as the wine will wilt the flowers much quicker than nature’s will. If the flowers are fine and without a hint of disruption, the mother of the lady will allow her daughter to see him, but if not, she may let the wine fall over the man as if he were the wilted valerian himself.

 

Upon acceptance of the courtship, a first meeting with the family must take place. The mother will crush the wilted flowers into a powder, sprinkling it over her cheeks and shoulders. Throughout the course of the meeting, if the powdered valerian begins to exude a pungent odor, hawthorn flowers will be brought into the room to contrast it, with the idea being that hawthorn fairies will wipe away the powder so her beauty will match the young man’s love. If the odor does not die down, the fairies deemed his love insufficient, and the meeting will end with rejection.

 

A bride escaping from her wedding. Mariée en fuite.

 

Rite of Marriage

Weddings are traditionally held within forests or other natural environments, with the reception often being a freshly mangled animal for feasting. The bride’s dress- in opposition to many other cultures -is colorful and less extravagant, and her hair is let loose, showing her as she was upon her birth day. Weddings are often also held to celebrate multiple couples at the same time rather than a singular, especially among families of similar ages.

The entrance of the bride is an extravagant visual; she rides in upon a white horse or her preferred steed wielding a wooden chalice. Her father or father-figure lowers her to the ground and places Valerian powder within the chalice. She holds it as she is escorted down the pews by her father’s hand to be delivered before her betrothed and the priest undergoing the ceremony. The wedding is then held as usual of canonist customs, up until the point of exit, when the bride spills the powder in front of the couple for them to step onto before beginning their walk towards their reception.

 

Rite of Death- The Beautiful Exit

The beautiful exit (Le beausorti) is the process that surrounds the death of a person of Campagnois culture. This tradition is supposed to be a time of remembering the deceased. Although friends and members of the family are not asked to be joyous about a death, they are meant to look upon the positive aspects and the accomplishments of one’s life. 

 

First the funeral procession begins at the church where a priest blesses the deceased within a wooden coffin.  The casket is without extravagance, as the deceased will not be buried within it.. This is where members of the procession are openly allowed to share their grievances and place flowers into the open casket.

 

After the funeral services, a procession follows. The closest friends and family members of the deceased carry the casket, open, towards the forest. Casket carriers are asked to wear white with wilted wreaths upon their head to represent the exchange of life with nature.

 

The Campagnois believe that a natural burial brings one’s soul closer to the fairies. Thus, the casket will be taken to the forest in a parade’s procession, where a grave has already been dug. La Goutte or “The Drop” is when the casket is opened and the deceased are dropped within the grave beside the many flowers within.

 

Carnaval Mystique, the revel of the dark.

 

Holiday - The Preussens Calendar

The Preussens Calendar is an aged collection of holidays and events scripted in the late 16th century by Princess Anna Sophia of Pruvia regarding the celebrations of imperial customs and traditions. It is one of the most well-kept traditions of the ancient Auvergnat, passed down as a guide for celebration and exultation.With the exception of St. Godwin’s Harvest- turned into ‘Carnaval Mystique’ by superstition -and Krugsmas- turned into ‘Tuvmas’ by Empress Anne -the holidays are held without much distinction from their original practice.

 

[!] Attached is the calendar itself.

 

Holiday - Carnaval Mystique

Carnaval Mystique is the festival of the dark, held as a parade of costumes, the mystic arts of fortune telling, herbalism and more. Typically, it is held during the saints’ autumn seasons, but can also happen with variety during the other months. For the duration of the Carnaval, masks are worn made of leather, furs and leaves to hide the face, shielding the canonist from the dark forces that would invade their thoughts during parties such as those that revel in the night time.

 

More to be added…

 

Hawthorn Flowers

The Hawthorn tree’s delicate, pale flowers hold immense cultural importance to the Campagnois people. They view these blooms as the home to fairies (the spirits of fallen Saints) who guide their people. It is also believed that the Hawthorn fairies serve as stalwart protectors of any realm they inhabit, and, as such, many of the Campagnois aristocracy plant one or several Hawthorn trees on their estates. 

 

Pruvian Port

Pruvian port is a fine cherry wine had with just about every meal. Campagnois children begin drinking this nectar at the young age of twelve, which is revered as a vital step in a child’s maturation. To douse something in wine is to purify it and ingratiate it into Campagnois culture, which has become a practice ingrained in various rites of life and customs. Precious gifts, including necklaces, gowns, and even decorative items such as flowers, are doused in Pruvian Port before being presented to their recipient.

 

Birds of Prey

Birds of prey, and flighted birds in general, are looked to by the Campagnois as heralds of liberty. A bird of prey- hawks, eagles, falcons etc -spotted grounded is a sign of good luck towards the spotter, for they have been blessed with the essence of freedom. Keeping a bird in a cage is seen as a grave injustice, and often, falconers will instead domesticate birds of prey into free movement within their home or nature enclosures.

 

 

Figure - Timeo de la Baltas

Timeo de la Baltas is revered as one of the most- if not the most -famous bard to have ever existed. As an artist, he was said to be the embodiment of liberation and dramatism, with his ventures in life including a marriage to a much older illation matron with a plethora of children, as well as public performances of plays and opera to rival the voices of saints. Culturally, he was Auvergnat, leading him to receive the title of ‘Count of Auvergne’ in the 18th century. The Campagnois idolize Timeo’s introduction of Auvergnat culture’s wonders to the other cultures of Man, and frequently cite him as inspiration in works of art, however they clutch onto him as being a figure of their culture rather than belonging to the rest of the world.

In the Campagnois, he is known by his Auvergnat name: Timot. He is called ‘Timot l'éternel’ (Timot the Everlasting).

 

Towns and Residencies

Campagnois settlements are markedly provincial, with residencies being relatively small so as to invoke a feeling of homeliness, as family units are expected to be extremely tight knit. A defining characteristic of the Campagnois architectural style is the hipped roof, which features gentle slopes on all sides of the roof. Nothing in the Campagnois style is particularly lavish; the Campagnois town highlights a creamy, rustic color pallet.

 

 

Castles / Palaces

Continuing in the theme of provincial architecture, Campagnois palaces and manors generally shy away from pomp and overt displays of wealth. Despite being modest in design, these complexes tend to be imposing and intimidating rather than awestriking. Family and common areas are abundant within the homes of Campagnois aristocracy, as the familial bond is a core tenet of the culture. Furthermore, elements of nature are often spread throughout palaces and castles. These may include hunting trophies, plants, or general natural coloring.

 

Landmark Structures

Most landmark structures within a Campagnois settlement will feature vibrant colors to set a stark contrast between the rest of the town with its neutral-toned pallets. Important structures also feature more angular, sharp facades to draw the eye toward them. The most prominent of these landmarks include government buildings, places of worship, as well as religious shrines.

 

There are various staples that define the fashions of the community. The designs worn by the Campagnois are normally highly structured at the bodice, yet adorned with floral designs and natural notes that soften the harshness of the torso’s wear. Furs and greenery are often employed as accessories to accentuate the shape of an ensemble.

 

Women’s Fashion

Women often sport structured bodices with flowy skirts underneath, the female’s fashion being heavily influenced by the nature in and around their settlement. Skirts are typically not wide, and take on the freedom of movement employed in a maxi-skirt. This is for the purpose of fast-paced action such as running and labor. Dress is also highly conservative within Campagnois culture, and women will often don veils over their flowing hair. They also exhibit bright colors adorned with various floral patterns and other intricate designs. 

 

Men’s Fashion

Similar to the fashions of their female counterparts, the Campagnois men boast structured bodices with colors and patterns influenced heavily by the nature around them. Bottoms range from breeches to tight-fitted hose of various patterns, and they will often pair either with tunics at knee-length or lower.

 

 

 

This post will be updated as the culture is developed in-character, as this is definitely a WIP with a lot of roleplay to be done to cement practices into being.

So many thanks to @Lyonharted, @Tiresiam, @VeganWalmart, @ncarr, @clonky, and @sunflowerist for writing!

 

A depiction of St. Emma of Woldzmir being fitted into her armor.

 

RE: A PEER’S CHOICE

The following is a public letter addressed to the Palace of Woldzmir.

 

Chère Anna Tuvyic, 

The irony of your betrayal against those that you have been estranged with is rich, yet to present it on such futile claims as those that have risen against Our Majesties in the past years' coupling is exactly the sort of behaviour I have witnessed from you in the past, as noted by a letter I sent you several years back that was left unanswered. Your origins as an adoptive of heretical blood leeching creatures abhors any claim you throw towards the moral high ground. Your loyalty to a woman who has attempted diplomacy via a treasonous supposition of her own power lays thick the duplicity of yourself and the godless, long-cursed House of Tuvyic as it stands on the legacy of Ostromir. What a pity it is to see a blasphemous house blaspheming once more.

The points you arrive at in your letter shows a blatant lack of understanding towards Orenian matters as they stand. This is undoubtedly owed to your voluntary ignorance in controversy. You have holed yourself up in your palace, and thus appear like an emu sticking its head in the sand to attempt to confuse its own predator. I will not be kind in my riposte, for your behaviour is a scourge against the new strength the empire has gathered. Be as the Priestess Ileana, open in your convictions on the streets. Words such as those you espouse through letters only convince our enemies of your virtue, not our people, although I am sure that your heart lingers with the former.

 

On the matter of your safety:

To assume that any soldier would lay harm to you or her Imperial Highness within the walls of Aster Hall is laughable if we examine the mercy manifested so far. When the dwarven king was captured, even he- the source of this war's suffering -was granted mercy. When it was believed that the Pontiff was conspiring with heretics to wage war against his faithful, even he- with men condemning him as a traitor to mankind -was granted mercy. Not a single hand was cast upon his holy vestments, and not a single hand would've been cast against you if you had only sought reconciliation via communication with Their Majesties. It is evident now that you refuse it, not that it has not been offered. 

 

On the matter of the war:

What a wonderful dream it would be if the war ended upon His Imperial Majesty’s abdication. The dwarves’ coalition is not a coalition with the purpose of dethroning anathema, for they care not for our canonist laws and neither do their allies. Its purpose is the thieving of our lands, done to strike at the very heart of our peerages and destroy the homes of thousands who reside in the country, and with it the morale of all orenian men. Regardless of who rules the throne, Oren now stands against an enemy that wishes it and its people tongueless, subservient and powerless. Beyond that, the Prince of Providence is the only rightful heir to Oren via the law of renatian succession, and his opinion stands with his Imperial parents on the matter of this war. To place the entire empire on a child’s shoulders would be to condemn us to a gruesome defeat, and there is no doubt that he would be the puppet of one or another man with malicious intent.

 

On the matter of anathema:

If you believe the hearsay that regards Her Imperial Majesty as a murderer, you would find your point lost in the fact that any mention of his death as anything beyond the hand of the bewitched former Governor has been confirmed false by the withdrawal of the speculative report that accused her Imperial Majesty in the first place, if it was even a ‘report’ at all.  Whomever raised the evidence against her to the Pontiff shows the same cowardice you do now in your deceit. If there is no evidence for Her Imperial Majesty’s murder of the prince, then there is no evidence behind this anathema. It is fueled by a deep and ongoing hatred against the Empire that would allow the Dwarves their crusade against Men, with Men fighting alongside them for reasons we can but shed tears in ponderance of.

 

I hope you think on my responses and more, although it will not help you in the slightest, for you are set in your mind and your aversion to the plight of the orenian people.

A plús, 

Claude Élisabeth de Savoy.