Wiltshire Wanderings

Part 1   Stonehenge to Salisbury

The magic and mystery of the ancient site of Stonehenge is compelling, even now that the inner circle is fenced off and with the ever-present crowds, all seeking a better spot for their photos. The lashing rain one minute, the gleams of sunshine and the stiff wind all add to the sense of wonder at the hardiness and determination of the people who erected this observatory. 

And the barrows on the hilltops encircling Stonehenge show how important this whole area was to those early people.

The next stage of the journey was Salisbury, a medieval city with its own huge temple. Salisbury cathedral is held to be the most beautiful building of its kind. It was completed in about 65 years, so is a harmonious whole, in the Early English Gothic style.

The cloisters were completed in 1266. They were designed as a place where the canons could read or relax, [lucky canons] or for processions. The delicate stonework is amazing.

A view of the cathedral from Harnham, south of the city.

The city gates are still in use - and they are closed at 10pm each night. 

Salisbury is a city with five rivers. Here's a house on St Nicholas' Bridge, which spans the River Avon.

23rd April - St George's Day

                      

Here's a suitably gothic scene where a dragon can lurk and pounce on his prey. He has terrified the inhabitants of the castle and the scattered bones testify to the cruel fate of anyone who attempted to challenge him.
St George rides to the rescue and kills the evil beast.

It's good that someone is willing to be a hero. Happy St George's Day to all.

A Very Merry Chase

A charming video of Regency era beauties, uploaded to you-tube by Ladysilkspinner


     click here - A Very Merry Chase

Villains

I enjoy creating Regency era villains. They can be handsome and fashionable and their vices and bad habits are often so similar to the faults displayed by the hero that it causes confusion and discussion. That was an essential part of my plot in The Wild Card. I like having my first opinion of a character reversed when an event or action shows how a totally different interpretation can be put on their earlier actions. But sometimes this leads to a big disappointment as the charm and seductive manner reveal a heartless villain - or, even worse, one with a weak character. Consider Willoughby in 'Sense and Sensibility' - handsome, well liked, full of charm and so adaptable that he is universally pleasing... He merely lacks wealth and we can pity him for the restrictions that puts on him..... until we see how he overcomes that.

The supposed villain may have an excellent reputation in society and be much admired for their style - or perhaps being rakish or wilful makes the person more attractive. Think of Lady Barbara Childe in Georgette Heyer's 'Infamous Army'. Of course, she only appears to be a villainess. Her wild spirit and wilfulness stand her in good stead as eventually she must cope with a handicapped husband.
I'd rather cope with Willoughby than face a sinister rogue like Carver Doone. He is from a previous age, a swashbuckling, ruthless villain without one redeeming feature. Perhaps Georgette Heyer drew on him a little for one or two of her characters; the unpleasant Duke of Andover in 'The Black Moth', for instance.

The villain who attracts me most is Jane Austen's Henry Crawford. Jane Austen captured so exquisitely the potential of the person to turn either way. Each time I read 'Mansfield Park' I so want him to reform that I hope this time he will..., then am always desolated that he wastes his many good qualities through weakness in his character which mean he always opts for self indulgence. Stricken by this waste, I'm then left to hope that perhaps one day I'll be clever enough to write a villain who comes somewhere close to him.

Ah, well, we still have the heroes.

                                                 Copyright by Beth Elliott 21/ 03/2012

Romantic Novelists' Association Blog: Interview with Beth Elliott

Interview with Beth Elliott

Beth Elliott was already making up stories before she could read. Later, the only girl in a tiny Lancashire village, she read ‘Pride and Prejudice’ and so began a lifelong love of Jane Austen. Beth says that writing her own tales set in the Regency era is much more fun than her previous career of teaching modern languages. So tell us, Beth, what is it about the regency period that so excites you, and how do you set about your research? 

I was twelve when I first read Pride and Prejudice. It opened the door into a world I found entrancing, perhaps because there is still so much evidence of that period all around us. For research I read biographies, visit stately homes and museums, study pictures - and enjoy all the Austen films. I’ve paced out my characters’ journeys in Bath, Brighton and London and even in Istanbul! I love travelling and where I go, so do my characters. Tourism is not just a modern phenomenon. After reading about Byron’s travels in the eastern Mediterranean, I set my latest story in Constantinople.

Are you ever inspired to write about real people in your historicals?

I love doing that. It’s an exciting challenge to put real people in my stories and blend them in, while respecting what we know about them. The Prince Regent appears in The Rake’s Challenge; in fact, the heroine nearly poisons him. And Lady Hester Stanhope plays a vital role in the story I’ve just finished.

Much as you may love writing, what do you do when the going gets tough?

It’s essential to keep writing through these sticky patches and not put it off. The characters won’t leave me alone, anyway. Mostly, writing seems like going away on holiday with my characters. But when they dig their heels in I get so frustrated. After a brisk walk and a bit of bad language I write what I hope is the next scene - and sleep on it. In the wee small hours I wake up, knowing that it’s all wrong. So I try a different viewpoint or an alternative place or reason. One hero was left with his elegantly booted foot on the fender for nearly three weeks until the way forward was suddenly obvious.

Tell us about your latest book, and what inspired you to write it.

THE RAKE’S CHALLENGE is set in Brighton in summer 1814. The idea for the story began when I saw a magazine advert for a costly leather jacket. The model’s pose was so arrogant, I knew at once who he was. And at an open day at Chawton House, someone demonstrated the language of the fan, which gave me a plot idea. I also wanted to have a poisoning in the story, so why not make the victim the Prince Regent? My arrogant rake, bored with London, is on his way to Brighton when he is obliged to rescue a damsel in distress. But she’s one hell of a determined damsel and so for once he has to exert himself for another person - and she takes a lot of keeping out of trouble. It’s obvious where it’s going, but it’s the journey that makes it an enjoyable story.

Have you ever won or been short-listed in any competitions or awards, and do you think they help with a writer’s success?

My first story, THE WILD CARD, (which went through the NWS and was bought at once by Robert Hale), was shortlisted that year for the RNA Romance Prize. And the second one, IN ALL HONOUR, got into the final for the RedRosesforAuthors Christmas Award. I think it helps a lot for an author to be nominated and especially to win an award. It’s a big recommendation to the public and to publishers, as well as a huge boost to the writer’s morale.

So who is your favourite hero? 
Am I only allowed one? Apart from Mr Darcy and John Ridd, it’s Rupert Carsington in Mr Impossible. Tall, strong, too handsome for anyone’s good, irresistibly attractive, practical and always fights fair.

What was your favourite book as a child? 

The Hills of Varna by Geoffrey Trease. It was set in about 1510, and had a marvellous there and back quest across Europe, with a bold, brave heroine. No wonder I love travel and languages.

I loved Geoffrey Trease too. He wrote such exciting stories. Apart from writing, of which accomplishment are you most proud? 

My metallic bead embroidery, because I love all the sparkle and the gold thread. Each piece takes months to do and I make it all up as I go along. Here’s one called ‘East-West’.

Which authors do you choose to read for pleasure?
Loretta Chase, she’s so witty; Mary Balogh; Roisin McAuley; Wilkie Collins; Jane Austen, I can always find something new in there.

Lastly, if you could escape somewhere, to write, where would it be?

Ax-les-Thermes in the foothills of the Pyrenees would be a good place. Beautiful scenery, walking through history, local cuisine - plus the spa when needed. And the chateau which features in my new novel- Scandalous Lady - is close by. 

 

Thank you so much for sharing your pleasures in writing with us today, Beth. I’ve so enjoyed talking with you, and wish you every success for the future.

To hear more about Beth’s books, you can find her here:

https://www.regencytales.co.uk/

https://regencytales.blogspot.com/

Jane Austen's House at Chawton

Today I paid another visit to Jane Austen's home in Chawton. The village is situated well away from the main road and still has a peaceful old world atmosphere. The road leading to Jane's cottage has not changed much since her time. This row of thatched cottages defines the length and curve of the road.

It was sunny and in all the gardens plants are stretching out green shoots at a miraculous rate. In Jane's garden daffodils and violets are in flower and there is the promise of a fine display of bluebells in another month. New since my last visit is the flowerbed of dye plants. It has ten sections, so ten different plants from which to make dyes for brightening up clothes and ribbons.    

Close to the outbuildings at the back of the house, is a bed of medicinal plants. Looking at these, I respect their virtues but feel a slight shiver at a world without modern medicine. There are also herbs such as rosemary and lavender with their many uses and a very old fig tree.

The various outbuildings served in essential jobs and for storage. The open door leads to the Bakehouse, with its wide chimney and brick oven. It also contains a large copper where clothes and household linen could be washed. The well is right by the door. There is an underground storage room, which would be cool and so provisions like salted pork could be kept there through the winter. [Pork was only eaten when there was an 'r' in the month.]

Coming round the side of the house, there is the main kitchen, a large and airy room, although perhaps when meat was roasting on a turning spit over the open fire the air in there was smoky and little sputters of hot fat made working difficult. This photo was taken on a previous visit, hence the roses.

     In the main kitchen

Inside the main house the rooms are large and the furniture is elegant, although there is only one padded seat - the sofa. The pianoforte is smaller than a modern piano but how essential it was for entertainment. It is easy to imagine the daily life of the family with its household duties. During the evenings as they sat in the drawing room, one of them would read and the others would sew.
The little table on which Jane is supposed to have written her novels, stands by the window in the dining room. It is battered and shabby, yet it is the most respected item in the house, everyone marvelling at it and then at Jane herself, whose existence was constantly bound up in her large family and the daily duties of domestic life, yet her perception of human nature is so profound that the stories she created are loved and admired across the world. That is evident from a glance through the Visitors' Book at Chawton Cottage.

And now, to round off my day, I shall select one of her novels to reread....

Antoine-Ignace Melling

Antoine Ignace (Anton Ignaz) Melling was born in Karlsruhe in 1763. He studied Architecture and Mathematics at Klagenfurt. At the age of 19, he went to Italy, Egypt, and finally Constantinople as a member of the Russian Ambassador's retinue with the aim of drawing pictures for various dignitaries. He was introduced to princess Hatice Sultan, sister and confidant of the Ottoman Sultan Selim III.
At Hatice Sultan's suggestion, Melling was employed as Imperial Architect by Selim III. In 1795 the princess commissioned Melling to design a labyrinth for her palace at Ortaköy in the style of the Danish ambassador Baron Hübsch's garden. Delighted with the result, she asked Melling to redecorate the palace interior, and subsequently, a completely new neoclassical palace at Defterdarburnu. He also designed clothes and jewellery for her.

Melling Pasha's eighteen years as Imperial Architect gave him a privileged opportunity to observe the Ottoman Court. He became more familiar with the Ottoman palace than any Western artist since Gentile Bellini. He made many detailed drawings of the Sultan's palaces, Ottoman society, and vedute of Constantinople and its environs.

The Versatile Blogger Award

                            

My thanks to Suzie Tullett, who nominated my Blog for this Award. But the first condition is to reveal seven random facts about myself.   *gasp*  Can I admit to all this?

1 As a small child I used to fill my pockets with butterflies, grasshoppers, any insect I came across.

2 I love slipping out for a walk in the dark - it feels more private.

3 Once I walked into a restaurant and an unknown length of time later realised I was still standing in the doorway, open mouthed, feasting my eyes on the most attractive profile I had seen in years...it was Alan Rickman. [have used that experience in a novel]

4 I adore Freddie Mercury's songs. To me they're like silk and velvet.

5 My hobby is metallic embroidery. That means stitching down lots and lots of gold thread, pearls, beads and sequins to make a picture. I like it to shimmer, gleam, shine and sparkle.

6 When I'm writing a novel, I get to feel quite ill when the characters revolt against what I want them to do. And then it's so hard to say goodbye to them when there is no more to tell, that I have to arrange some outings to break away from their company.

7 I love flowers of all kinds but prefer to keep them growing in the garden, not cut them and bring them inside.

Now to nominate Blogs that I recommend for this Award.

http://www.margaretblake.co.uk/


http://the-writing-ladder.blogspot.com/


http://Ilovemybusylife.blogspot.com/  


http://vonniehughes.blogspot.com/

Interview with The Wild Rose Press

Growing up in a tiny Lancashire village where the only other children were two boys, I relied on books for companionship. Once I discovered Jane Austen's stories, I always had somewhere to go. It was fun to pretend I was one of the Bennet sisters in 'Pride and Prejudice'. I enjoy many different periods of history but find it easiest to visualize the Regency era and there are so many reminders of that time still in existence to help with accuracy. I visit the places I put in my novels, check on the time it takes to walk the distances, look at the fashions and the objects of daily life.

1 -When and why did you decide you wanted to be a published author?

Books were such a large part of my life as a child that I simply thought writing and reading were the things you did. I told stories to my little brother, and to my friends. At school I wrote long essays and edited the school magazine. A teaching career meant that life was always hectic. It seemed there would never be time to write novels. Then my husband became too ill to work, so to keep him busy I set him to write a quest story that we had been discussing for several years. Each evening I would read his efforts and edit. We laughed a lot over our characters and their adventures. Sadly, my husband died but over that year I had found time for writing in my day and I just kept going. I wrote 'The Wild Card' and sent it to the Romantic Novelists' Association for a critique. Following their advice I edited it, then sent it to Robert Hale, who took it at once. It was shortlisted for the RNA Romance Prize. Robert Hale has just published my fourth Regency tale, 'The Rake's Challenge'.

2 - What is the best and worst thing you have learned from an editor/agent?

When I sent out the quest story, one agent took the trouble to write a helpful rejection letter. She advised me to use more emotion so that my characters would sweep the reader along. It sounds so obvious but I needed that push not to be so buttoned up. Later, another agent warned me that stories must not be just publishable but marketable. She also advised me that Regencies don't sell well in the UK. I have a couple of ideas for stories in different time periods but they are on the back burner for now. I still have plenty of Regency adventures to write. My editors at Robert Hale are very helpful, but I had to learn 'house style'. I only ever argue over historical accuracy.

3 - Favourite authors?

I have been reading and rereading Jane Austen's novels since I was twelve. I always find something new in them. Wilkie Collins and George Eliot are also favourites. Georgette Heyer gave me the idea that the Regency period was elegant and full of adventure, so she has been a big inspiration. Then there's Loretta Chase and Nicola Cornick. And I must mention R D Blackmore and 'Lorna Doone'. Was there ever such a love story? *sigh*

4 - What is your typical day?

It starts when the cat pulls on the back door handle to call me because he's hungry. When Sir is fed I make a cup of tea and go back to bed to read what I wrote the night before. I add and alter and often get carried away by new ideas and rush down to the study to rewrite or develop something.
During the day I deal with general tasks, otherwise I'd disappear under a sea of papers and the hedge would reach the moon. I settle down to write in the evenings. What with background reading and checking details on the internet, it often gets to the wee small hours before I realise that the time has gone. Writing is like going away on holiday - and I don't want to come back.
I also travel a lot, which disrupts my writing, even though there is usually a research element to my journeys. For example, in July I visited a marvellous little palace in Istanbul; and in October I'll be hunting in the Pyrenees for a suitable castle for my hero's family home. They are both for the hero of my wip, an Ottoman Regency. It takes place in 1811 as that is when Lady Hester Stanhope was in Constantinople [Istanbul] and she plays a vital role in the story.

5 - Do you plan your books? Or write it as the dialogue/action comes to you?

Each story starts when I've collected enough faces and places. They come from all over, maybe an inflight magazine, a newspaper or a postcard from a museum. I spread the pictures out on the table and pair them off, adding friends, families and villains. Then I select homes for them all. The story sparks from something in one of those faces. Within an hour or so I'll have an outline plot. Over a few days it develops into a story and some episodes are vivid in my mind. I write this outline down as a guide - but it will only become a detailed plan when I know my characters better. It always seems to happen when I reach chapter 9. So the characters lead me along, really.

6 - What surprised you the most when you became published?

The thrill of holding my first book will remain with me always. Perhaps the greatest surprise was the amount of time and effort that is needed to publicise your books.

7 - Do you have a dedicated writing space? What does it look like?
We have a small study [my husband and I were modern languages teachers] with lots of bookshelves and a big desk that is crowded with papers and pots of pens. I work on a desktop computer. If inspiration fails I look up at the books, photos and pictures to get ideas moving again. To my right is the window, and just outside is a rambling rose bush - with thimble-sized pink flowers, which adds a romantic note. There is also an exercise bike that I use while reading bits of research or the pages I've just printed off.

8 - What’s next for you?

My wip is another Ottoman Regency, with more focus on the oriental way of life this time. My husband was Turkish [and a poet] and we lived in eastern Turkey for some years, so I have plenty of material for the background for my Ottoman stories. Robert Hale has just brought out a Kindle edition of my second story 'In All Honour'. It's exciting to join the ebook world. Then I want to write the next of my Byron books. My heroine in 'The Rake's Challenge' is a devoted Byron fan, like her three schoolfriends. I think they deserve a story as well.

Seductive Supper

In Scandalous Lady, the hero tries by many ways to persuade the heroine into agreeing with his plan. His first method is to woo her with an exotic feast. Chief among the tempting dishes is Circassian chicken.

Would it tempt you? [ but go easy on the red pepper to start with !]

                                       Circassian Chicken /  Cerkez Tavugu

[Chicken with walnut sauce]

Chicken                            1 medium size [1 - 1 1/2 kg ]
Walnuts (halves)                3 cups
Bread (stale)                     5 thin slices
Garlic                                4 cloves
Salt                                   2 teaspoons
Black pepper                    1 teaspoon
Chicken broth                   2 ½ cups
Olive oil                            2 teaspoons
Red pepper                       ½ teaspoon

Instructions for 6 servings

Simmer chicken in water for 35 minutes or until tender; drain. Reserve broth. Bone chicken. Remove skin.
Cut or tear into 5-6 cm (2-2 ½ inch) long and 1-1 ½ cm (1/2-3/4 inch) thick strips.
Arrange in a serving dish. Set aside.

Combine walnuts, bread slices (soaked and squeezed dry) and garlic; mix well.
Place into blender or a food processor. Process until well blended. Add salt, black pepper and chicken broth gradually blending thoroughly until it gets medium white sauce consistency.
Pour over chicken. Heat the oil and stir in red pepper. Remove from heat and sprinkle over walnut sauce.

Serve at room temperature.

The Magnificent Century

A Turkish soap, showing the main events of the reign of Sultan Suleyman the Magnificent and his red-haired wife, Hurrem.

It was traditional for all the sons of the Ottoman royal family to learn a practical trade. Suleyman was a goldsmith. In the soap he designs beautiful jewellery for the ladies of his family. Hurrem's emerald and diamond ring has become a best selling item all over Turkey, from genuine jewels in an expensive jewellery boutique to a cheaper version on a market stall.

Hurrem's emerald ring

Prince Mustafa - also with splendid jewels on his turban.

An Eighteenth Century Turkish coffeehouse

 The first coffeehouse ever was opened in 1554 during the reign of Suleyman the Magnificent in the Tahtakale district of Istanbul, a vibrant commercial centre even today. The first people to attend this first coffeehouse were people pursuing the mundane pleasures of idly enjoying the moment (there is a specific word for this in Turkish called ‘keyif'), as well as the educated class of society. Some would come to read in the coffeehouse, others would play backgammon or chess, some would engage in conversations on art and culture.
There were also a number of coffeehouses with decorative pools or fountains during the Ottoman period, as the Ottomans believed in the soothing power of watching water. The coffeehouses were subsidized by the local rich people.

The introduction of tobacco increased these places' popularity tremendously. The powdered tobacco [called 'shisha' ] is smoked through a hookah [narghile]. 
[Picture of narghile courtesy of Ozledim.NET]



Canaries were considered ‘good luck' for Janissary coffeehouses. In big coffeehouses, there would be as many as thirty to forty birdcages.







[All part of my research for 'Scandalous Lady', set in 1811 ]

The Ottoman Harem [ Part 3 ]

The Organisation of the Harem.

Throughout the Ottoman Empire, the imperial harem was under the control of the Sultan's mother, known as the Valide Sultan. She was the equivalent of the queen in European monarchies. To show her rank, she had the title of "sultan", a privilege bestowed only on the mother, blood sisters, and daughters of the sultan.
The Valide Sultan was an outstanding figure respected and feared not only by the rest of the women in the harem, but also by the chief executives of the state. She presided over and administered the harem, managed her assistants and dealt with only very important matters. The rest of the harem affairs were handled and organized by her ministers.

The Chief Black Eunuch was the senior aide to the Valide Sultan, acting like a prime minister for her, and conveying her wishes to the Sultan. He was also responsible for the women in the Harem. The Chief Black Eunuch also acted as a liaison between the Harem and the outside world, which gave him immense status and respect. In some cases he had the power to appoint various people to important posts in the palace, provided that his choice was approved by the Valide Sultan.

A large staff of attendants and servants, comprising often more than a hundred women of various ages, was under the supervision of the Valide Sultan. They were performing their tasks in a very complex hierarchy. However, the actual running of the Harem was shared by two women; Kahya, "Head Housekeeper" and Haznedar Usta, "Head Treasurer". Haznedar Usta was responsible for the financial matters of the Harem, and she acted like a treasurer, allocating cash allowances and material possessions to harem women in direct proportion to their rank.

After Kahya and Haznedar Usta, came the Kalfas, the senior maids who were responsible for various duties: First Secretary, First seal-bearer, First Mistress of Robes and so forth. They were assisted by lesser servants called Halayiks, These were all positions of high esteem and would be occupied by the women who had gradually advanced in all parts of the Harem's training, but who did not have a chance to become a wife (Kadin) or favorite of the Sultan.

After the Valide Sultan, the most important women were the Kadins or Kadinefendis, the wives of the Sultan. Even though the Kadins were not officially married to the Sultan, they were much respected and reckoned as official wives. They had their own apartments, odalisques, slaves, jewels, dresses, and allowances that were in proportion to their rank

Eunuchs
Undoubtedly, such an important place, where hundreds of women lived together wouldn't be left unprotected. Eunuchs were the solution. They were castrated slave men who were either captured in wars, or recruited from all over the empire. Black eunuchs usually came from countries like Egypt, Sudan and Ethiopia, whereas white eunuchs were acquired mainly from the Balkans and the Caucasus.

The Kizlar Aghasi - The Chief Black Eunuch

The Black Eunuchs were mainly guardians of the harem, but they were also assigned to various services within the harem hierarchy. They belonged to the category of Sandali, which means; their genitals were completely removed so that they wouldn't pose any sexual threat to harem women.
The White Eunuchs were assigned to several duties within the government, usually fulfilling the secretarial and bureaucratic work of government officials. Some of them even succeeded to be in the direct service of the Sultan himself. Their castration procedure, however, differed from that of the black eunuchs, by removing testicles only due to the fact that they were not in contact with the harem women.

All the black eunuchs in the harem were supervised and controlled by the Chief Black Eunuch, the "Kizlar Agasi", (also known and spelled; "kizlar agha", "kislar agassi", "harem agasi"). The high ranking ladies in the harem usually did not see the eunuchs except the chief black eunuch. The chief black eunuch held a very important position not only in the harem, but within the Ottoman administration as well. He was the most important connection, and served as a liaison between the Sultan and his mother, the Valide Sultan. His rank was somewhat equivalent to that of "pasha" (Ottoman general), and he acted as an envoy between the Sultan and the Grand Vizier (the prime minister of the Sultan), carrying messages between them. Moreover, he was involved in almost every palace intrigue and contrivance, enabling him to build up power gradually, and establish dominance over the Grand Vizier, some other important state officials, and even the Sultan himself.

The Chief White Eunuch, "Kapi Agasi" (also spelled Kapi Agha) was the senior executive of the white eunuchs who were in charge of the inner service, the palace administration. He was also the head of the Palace School.

My thanks to Umit Sonmezler for the information in this post.

                             ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

          When Aunt Emily collapses with a fever, she and her two nieces are whisked away by Kerim Pasha into his luxurious mansion, where they experience a lifestyle of oriental splendour.

The Ottoman Harem [Part 2]

The Structure and Hierarchy of the Harem

Acquisition of Slave Girls : Young non-Muslim girls of breathtaking beauty, chosen from the slave market, were sent to the Sultan for his harem, often as gifts from his governors. These girls were usually from the Caucasus region; Georgians, Circassians, and Abkhasians. They were either kidnapped or sold by their parents. Many poor Circassian and Georgian families used to take their own children to the market, and encourage them to enter the life of concubinage, which they hoped, would promise a better future. There were also girls taken by pirates and sold in the slave markets in Istanbul; as well as girls presented as gifts by certain European ruling families. The intention here was to place a spy in the harem and to encourage the Sultan to look favourably on trading or political agreements with that country.

Admission to the Harem : Before being admitted into the harem, these girls were thoroughly examined by trained concubines (cariye) and the chief eunuchs (haremagasi) to make sure the girls had no physical defects or weaknesses. If a girl was found to be eligible, she was presented to the Valide Sultan (Sultan's Mother) for final approval.

Once she was accepted into the Sultan's harem, her name would be changed - often to a Persian one, according to her particular qualities or appearance. For example, Laligül (Ruby Rose) and Nazgül (Shy Rose) or, if a girl had charming rosy cheeks, most probably she would be renamed "Gulbahar" meaning Spring Rose.

The cariyes' courtyard, where the girls slept.

Training : These acemi (novice) girls were immediately converted to Islam and began an elaborate training in Ottoman culture, the Turkish language, and palace etiquette. After a certain period of basic training, they were called odalisk or odalik and assigned to several duties depending on their talent and beauty, and they would be supervised by trained concubines (kalfa and usta).

The word, odalisque comes from oda (chamber), and odalisque means "chambermaid". Odalisques were at the very bottom of the harem hierarchy and were not yet concubines, however, there was always a possibility that one day they could become one. They never served the Sultan himself, but rather served as chambermaids to concubines, wives, and other important royal members of the harem. Any odalisques with charm, beauty and self-confidence, would be selected to become concubines. They were taught to sing, dance, play musical instruments, recite poetry, embroider and so on.

Some of the most beautiful odalisques showing exceptional abilities, were selected to serve the Sultan in person; in other words, they were promoted to the very important position of gedikli (maids-in-waiting). They were responsible for the Sultan's ultimate comfort and relaxation. Their duties included bathing and dressing him, doing his laundry, and serving his food and drinks.

An Odalisk serves coffee to the Valide Sultan

Other odaliks were assigned to particular jobs and placed in the service of the Valide Sultan, the kadins (wives), the Sultan's daughters, high ranking cariyes (concubines), or the chief black and white eunuchs.

Note: I am indebted to Umit Sonmezler for some of the above information.

The Ottoman Harem [Part 1 ]

Cariyes - Concubines

Life in the Ottoman harem was very different from what was imagined by Europeans.  In Ottoman society, as an institution, harem life reflected the secluded privacy of family life.

The 'cariyes' served the sultan's wife or his mother. Under the guidance of the sultan's mother, they were taught to read and write, play music, and to follow the intricate rules of palace etiquette and protocol. They were trained and educated in the skills and accomplishments considered appropriate for women at the time. After 9 years in service they were allowed to marry.  Very few were honoured even by the privilege of waiting at the sultan's table, and still fewer became royal wives.  Hurrem Sultan  was a good, but rare, example of palace opportunities for cariyes.  

Among the cariyes it is commonly believed that there were many in the harem from noble families of Europe. - for example:

Hürrem Sultan, maiden name 'Alexandra', wife of Süleyman the Magnificent, Ukrainian- Polish
Nur-Banu "Princess of Light" ,  maiden name ' Cecilia Venier-Baffo' , wife of Sultan Selim II, Italian
Kösem Sultan "Mahpeyker",  maiden name ' Anastasia', wife of Sultan Ahmet I, Greek
Hatice Turhan Sultan, maiden name 'Nadya' wife of Sultan Ibrahim, Ukrainian   
Nakshidil "embroidered on the tongue " , maiden name 'Aimee du Buc de Rivery', wife of Sultan Mahmud I, French   [ this one remains doubtful, although there is some evidence that she was Aimée, cousin of Napoleon's Josephine]

An Iqbal

 

After nine years of service the harem girls or 'cariyes' were given their leaving document. In addition, they received a set of diamond earrings and a ring, a trousseau and some gold as their marriage portion. After the harem, their lives and well-being were closely supervised or else suitable husbands were found for them. Outside harem life, they were renowned for their good breeding and for their discretion, never being known to reveal any intimate details about the royal family to outsiders. 
Nevertheless, graffiti on the harem walls shows that not all cariyes were contented with their lot:  'Dilferib whose heart burns / Is wretched / O God / Alas alas.'

Thanks to the Akhal-Teke

The declaration of frustration in my last post worked. Eventually, in the one-step-forward-and-two-back method, that last confrontation between hero and heroine took form and evolved into reconciliation. It took a few unusual props to get them there.

                                   The first was this magnificent Akhal-Teke horse.

The coat on this breed of horse has a bloom. As on this fine fellow, it shines so much it looks like metal. These horses originate from the deserts of Turkmenistan. Their coats act as camouflage in the shimmering desert heat. Prized for their beauty as well as their strength and skill, they are known as the Heavenly Horses.

                  The second prop was a ruby pendant, made in the Ottoman style.

And the final detail, to please other senses, was the song of the nightingales.

http://youtu.be/EPQz1IShfxQ

                  

Slow progress

I've reached the last section of my WIP. The villains have been disposed of, the secondary plots have been wound up but the major issue remains unsolved. The hero and heroine come from vastly different cultures. Is it possible to resolve all the problems involved if they agree to marry; and do it with a light touch? Perhaps this is what is cramping my style.

Or perhaps it's because the heroine is refusing all contact with the hero at this point. This is to do with her character as much as the difference in culture. She wants total commitment but thinks he has a very lax attitude to women and to fidelity. I must have sunk myself totally into Olivia's personality, because, for the moment, I cannot work things out either.

But I will.

And that declaration of intent has got the problem down on [virtual] paper, which relieves the pressure in my mind.
Back to that last chapter. They are going to sort out their differences and find a way to live their lives together. I'm not wasting that chateau,

                                or the Pavilion on the Golden Horn.

Enjoyable research in Ariège

After months of working on my WIP, the people in it are as real for me as anyone I come across in my daily life. And my French friend, who follows the story chapter by chapter, is also as familiar with my characters as with her own family. Therefore she was delighted to assist by finding a suitable chateau to serve as the hero's family home. It needed to be in a remote region and so we agreed on the Ariège, where the people are still fiercely independent, and tolerant of religious heresy - it is the region of the Cathars.

      

It is also a region of caverns, stretching many miles underground to vast depths. Wall paintings from 20,000 years ago, sited well over half a mile inside, prove that these underground sites have been in use almost as long as the region has had a human population.

Grottes de Niaux

   

This is the region where my hero and his younger brothers and sisters grew up, with the mountain peaks all around, rushing rivers, mysterious caverns, the fiercely hot, sulphurous waters of the spa at Ax-les-Thermes, the feudal lords of Foix and Aragon dividing or uniting loyalties and politics, and the smugglers' routes criss-crossing the whole area. Plenty of scope for adventures.

Plateau de Beille

Add to this that they live in the opulent chateau visited by all the notable thinkers and artists of the 18th Century. Material here for a second story....

Small wonder that we enjoyed our research. We plan a second visit to investigate the 'Route des Contrebandiers'.