by Philomena on June 7th, 2013, 1:40 pm
Nora Shears and her two weaver companions turned to see the new introduction, and Nora immediately recognized her: Mrs Hughes. Mrs Hughes, with the incompetent husband who frittered away the woman's fortune on a cockamamy business scheme. To say that Nora was cruel would be entirely unfair - Nora had no personal pleasure in seeing the suffering of others. It would be more accurate to say that, like all truly talented gossips, Nora had an intense belief in the social order, and in every person's 'place'. Mrs. Hughes had an unusual one, since by rights of birth and family, she should have been higher, but by rights of the merits of how her inheritance was treated, she was a faded star, a 'hanger-on'. Nora struck a careful middle ground - polite, almost deferential, but with that most humiliating of emotions thrown at Mrs Hughes: Pity.
"Mrs Hughes, its delightful to see you, I have seen you so much less at socials in the city." There was the careful doublespeak of social interaction: I miss you and wish I could see you juxtaposed with I'm well aware you've lost your standing and are no longer being invited to some of the great social events of the city. "I hope, at least, your health is well? I think one can suffer anything, if only one has one's health."
The two weavers - who had their social place as well, decidedly lower than Nora, who was solidly bourgeoisie,nodded agreeably. They were simply women, not gossips but simply repeaters of rumors. They took Nora's statements at face value.
Mrs. Hughes inclined her head, just slightly. She was a woman of dignity and grace, and what's more, a player of the same game. Taking this sort of putting-in-place personally would be not only affront to the rules, but categorically unwise. She'd seen women throw hissy fits over perceived slights before - it made the slighted look far more foolish than the slighter. Social interaction was a game, and one played the game by the rules.
"Indeed, Nora." In this, there was the same doublespeak - accepting the other woman's points, but by using her first name, reminding her that Mrs Hughes real position was higher, a position significantly high that at one time, Nora would have been honored to have been addressed by first name, even while constrained to reply with an honorific. Dances within dances. "I hardly recognized you, I have to confess. How is the tailoring? It is good to have some useful work to contribute to the city. I am proud to have a daughter who has learned to serve the people of Zeltiva." A reminder to Nora of her ceiling as a working women, and a offering of alliance, since they were in the same tier of interest, now.
One of the weavers, the wild-cards in the situation simply as a result of their general ignorance of the finer points of the game, blurted out now, "But right 'ere, on the edge 'er town! You mus' be terrified for her safety, Mussy Hughes! Why jus' a season ago, your girly might'er met with Knifer Lefting out 'ere, an' been garroted."
If you'd asked the weaver where she came up with this rather gruesome nickname - for indeed, it had never been used before (and since there was no rumors before this whatsoever that the murderer Lefting had made use of a knife at all, perhaps this was to be expected) - she likely would have had no useful reply. The name had simply bubbled up from the subconscious cloud of thought from whence all rumors birth. It was entirely possible the woman didn't even realize it was her who had generated the name.
The other weaver, lizard eyed and vain of long neck, nodded sagely, keeping said neck as straight as possible, "Its true. Why, I get a chill just thinking of being so close to the wilds of the Zertuskas. What if her Plague Witch 'er just hiding out 'ere somewhere? She come back for blood, she'll hit the little edge-houses, like this 'un first!"
Mrs. Hughes, frowned - in a moment alone, perhaps, she would consider the actual possibility of the threat to her daughter, but in the situation she simply considered the ramifications to her work of reestablishing her own good name. "Nonsense. Leila comes from a good family, with good business sense on her mother's side. I've… no doubt she has taken security precautions."
At this point, the party was interrupted.
Around the low dusty bend of the road, a beautiful two-wheeled gig came, driven by an honest-to-life coachman - a considerable rarity in the city decked in blue livery, with a high hat and high collar, starched beneath a golden cravat. The horse high-stepped in the useless, but pretty way of a well trained dressage. But these were simply the accoutrements of the new guests, of course, something like a very large and complex brooch accompanying their clothing. In the back of the gig, legs crossed, and light-silks fluttering in the breeze, sat Professor Hurston of the Department of History, a man well-known in the city, both for his wealth, and his closeness to the Regents of the university. And by his side, in a dress of layer upon layer upon layer of the fine grey sheer-fabrics imported from Abura, and with a deep, ash-colored scarf around her slender, well-formed neck, sat Emily Hurston, his wife. The scarf at her neck hung back behind her, and fluttered with a light airiness and shimmering effervescent beauty finer and softer than silk itself.
The gig pulled to a stop, and the coachman hopped down, much of the crowd at the party, quite frankly silent and gawking at the display. This was not the rarified company of a West Wing dinner party, many of these people were common, even low in the city. The coachman swung the door open with great ceremony, and stood holding it, his hand stiffly behind his back, his neck ramrod straight. The professor, with a general air of earthy bonhomie, hopped down past the high wheel, and reached a hand up to his wife.
His wife did not stand - she rose. His wife did not step down, she descended. She did not smile politely, she curled her lips with a quiet, almost matronly gentleness upon the people looking at her, calm and grey, with just the slightest, condescending nod of her head. She did not seek the hostess out. That would, in her position, be almost an insult it would imply that the hostess was too much the fool to know that it was good form to present herself to a societal doyenne. If this flit of a girl who had opened a business did not come to Emily Hurston, it would reflect no ill on Emily, who would be remembered by most of society simply as being kind and condescending enough to appear in her beauty at a festival of the city. At a 'pot-luck', at that, the sort of party that, after all just due to its very nature, implied that the hostess did not have the means to throw the party without the assistance of her own guests.
She gestured silently to the coachman, without even looking at him, and he bowed quietly, shut the door behind her, trotted behind the gig, and opened the trunk in the rear, removing from the interior an immaculate sliced side of beef, corned and salted, atop a tray of silver that shimmered with the light and sparkle of the stars them selves. In the center of the tray in a broad bowl of Eypharian cut glass, was a rich mound mound of mustard and horseradish, strong and pungent, and rich with a spice strange, foreign and exciting to the parochial noses of Zeltiva: real, red wine vinegar, and a hint of cardamom, a flavor only a very few experts in the city would likely even be able to recognize and properly name. Just eating beef, real cattle-beef, was rarity enough for most of these people, something they had, maybe, if they were of the upper bourgeois, served at their weddings. Maybe. If they had felt extravagant, and not in nearly such profusion.
Emily herself, took no heed of the beef as it proceeded in the coachman's arms toward the table. Instead she proceeded, quietly through the crowd. People parted to let her pass - her husband, rich, but without that ineffable AIR of richness, proceeded from her side toward the beer barrels, to draw himself, with dignity if not perfection, a quaff. But Emily did no such thing, gliding along in her heavy gown without even the hint of actual footsteps occurring beneath it - a lady, a true lady, need not reveal she had anything so gross and corporeal as legs.
A child broke free from her mother, a ragamuffin boy dressed in a tattered, but mended sunday best-suit for the party, and tumbled forward towards the doyenne. The mother looked on horrified, paralyzed with fear in a humble white linen dress, the scars of a life at sea in the wrinkles of her face.
"Yer a muppy princess, mem! Jus' like stories!"
The boy lisped the words out, staring up at her from his scrubbed but tanned and scratched child's face. The party took a collective intake of breath. The child was an ill-mannered brute, that much was clear. He would be left to his fate.
But Emily smiled, the slow, quiet condescension indeed of the 'muppy princesses' of a Zeltivan child's bedtime stories, and with an ineffable slow grace, even bent, ever so slowly, like a bird nestling in to warm her eggs, to bring her face to the child's level, her great skirts spreading with the grace and whisper of a fog across the ground. She smiled at the child, and spoke ever-so-terribly-gently.
"No, my child, this is Zeltiva. Here we have no princesses, the city fathers are too wise for that." A gentle concern rolled through her face. "You look hungry child. Give this to your mother, tell her you need milk, hmm? Good fatted milk will make you strong and clever, and perhaps you, child, will be a professor someday, hmm? Or a ship's captain."
From her slender finger, then, she slipped a ring - simple, of course. She was not gaudy, like the nouveau riche, the band was simply gold, un-adorned but for a finely worked swan's head wrought into it above the knuckle, and slipped it into the child's hand. Then she leaned her pale, face, her lips painted with the deep, glowing red of foreign paint, and kissed the ragamuffin gently on the cheek, leaving the faintest of red marks where she had done it, and smiling with a quiet grace before standing again.