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{{characterprofile
{{characterprofile
|name= Berkana LeJardine Faendryl
|name= Berkana LeJardine-Vangauri Faendryl
|caption=
|caption=
|race= [[Dark Elf]]
|race= Dark Elf
|culture= Faendryl
|culture= Faendryl
|class= Beguiler
|class= Enigma, Scourge of Eorgina
|profession= [[Sorcerer]]
|profession= [[Sorcerer]]
|religion= Order of [[Eorgina]], Cult of [[Circle of the Grey Moon]]
|religion= High Priestess of [[Eorgina]], Order of the [[Circle of the Grey Moon]]
|affiliations= Member of [[House Brigatta]], [[Order of the Shadow]], [[Black Iron Chalice]]
|affiliations= Past-Officer (Chair), Emeritus of [[House Brigatta]], member of [[Faendryl Enclave]], [[Order of the Shadow]], [[Black Iron Chalice]]
|word=
|word=
|disposition= Sensual and teasing
|disposition= Sensual and teasing
Line 19: Line 19:
|hobbies= Ensorcelling, journaling, baking, creative outlets (music, dance, aerial silk performance, prose)
|hobbies= Ensorcelling, journaling, baking, creative outlets (music, dance, aerial silk performance, prose)
|soft=
|soft=
|likes= Tea, chocolate, smooth-talking men
|likes= Tea, dark chocolate, smooth-talking men
|dislikes= Catty women, a majority of the [[Dhe'nar]]
|dislikes= Petty, jealous, or unkind women, a majority of the elder [[Dhe'nar]], those who are fashion deficit
|fears= Pastels
|fears= Pastels
|loyalties= Eorgina
|loyalties= Eorgina
|friend= Numerous, though few really trusted ([[Lylia]], [[Naamit]], [[Talinvor]], [[Shaelethe]])
|friend= Some, though few really trusted ([[Lylia]], [[Telagan]], [[Mithumbras]], [[Shaelethe]], [[Talinvor]])
|instance= Prime
|spouse= none
|loved= one
}}
}}


{| cellspacing="0" cellpadding="4" style="clear:left; margin-top: .5em; margin-bottom: .5em; float: right; padding: 1em 1em 1em 1em; background: none;"
'''Berkana LeJardine Faendryl''' is a dark elven sorceress and devout follower of [[Eorgina]]. She resides mainly at [[House Brigatta]] in [[Wehnimer's Landing]], where she serves as Matriarch. She also maintains a small tower in Ravenswood and a studio at Villa Brigatta on [[Teras Isle]]. She has a fondness for chocolate and bad men. During a two-year turn as shira'qa to [[Talinvor]] Vorrith, she learned how to master her psaltery, compose songs and prose, dance to delight the eyes, tantalize the senses, and perform with aerial silks. Sometimes, you can catch her at the tavern of the [[Black Iron Chalice]] entertaining.

Superficially seemingly pleasant, Berkana does carry a quiet reputation for having a sharp tongue and being intolerant of fools. Despite her general indifference, she does often travel to the Rift and Sanctum of Scales to take pity on the dead and animate them. Roses and the hue of nightshade are often two telltale markers that identity much of her wardrobe, which she often changes.

She has very long, luminous frost white hair pulled up into a slick ponytail and spilling from a topknot to cascade down her back. She has a high-cheekboned oval face and delicate upswept pointed ears. She has a curvaceous figure, sultry kohl-lashed silver-limned venom green eyes, and flawless ivory skin. She has full, sensuous lips tinted a pale rose hue and micaceous abyss black patina brushed onto her perfectly manicured fingernails.

She is wearing a double-strung black pearl chaplet, a long shadow black leather jacket with a carved obsidian wild rose clasp, a side-slit abyss black lace gown with a sharply plummeting neckline, a thin black leather thighband, and a pair of sheer thigh-high silk stockings faintly patterned with twining rosebuds, and some rose-embossed ebon leather boots lofted on sharp stiletto heels.


== '''History''' ==

Rumored to have been born on Eorgaen 12, 5061, Naamit took up residence in Wehnimer's Landing in 5096. She was married to Lord Tabalt Valkiryan, a dwarven warrior, until his unexpected death following a lucrative business deal in the following year. In the summer of 5098, she married Lord Reveko Mwani, a giantman ranger, to solidify a business venture, however he vanished under questionable circumstances sometime thereafter. She moved to Ta'Illistim in 5101, but still owns property in Wehnimer's Landing. Naamit was given the ''mark of Mularos'' in the form of a scar upon her neck on 23 Charlatos, 5102, presumably by the [[Eryael_Ladrinyth | Painlord Eryael ]] just prior to his arrival to Ta'Illistim. She fought on the side of the [[Dark Alliance]] during the [[Griffin Sword War]] and grew close to [[Harith Caerines]], the self-ascribed ''Whip of Mularos''. Harith appointed Naamit as proxy ''Whip'', in the event unfortunate circumstances befell her, which they eventually did. Naamit rescued Harith's soul (albeit temporarily) from [[The Pale|the Pale]] in 5103, but was unable to maintain control of Ta'Illistim in Harith's stead. She also formed a close friendship with [[Ysharra Nagorn|Ysharra]], and their affinity persists beyond the pain of time.

Naamit previously led a cult known as the Harem Dzosch; the group faded into obscurity upon her disappearance sometime between 5104 and 5106.

Naamit returned to the Elven Nations in 5116 after a decade-long journey of searching for any possible remnant of her former mentor, Harith. She took up residence at an estate outside the elven city of [[Ta'Illistim]] and restarted a small, but rewarding private business there. She was officially recognized as a Master Painter in Ivastaen, 5117, and granted Grand Lady status in Lumnea of the same year. Naamit was briefly bonded to Heartfire Durden, a giantman guardian, following a bloodbath in the Duskruin Arena trials of Phoenatos, 5117.

In the year 5118, Naamit acquired a piece of [[Black ora jewelry|black ora]] shaped curiously like the hilt of her whip; the antithetical artifact turned her neck to ruin, rendering her singing voice to sound like the piercing wail of a banshee. Storms are said to precede her arrival ever since.

== '''Appearance''' ==
: It is difficult to get a good look at Naamit due to the number of mirror images of her nearby.
: You see Mistress Naamit DMVMD-Braggiani the Harbinger of the Harrows.
: She appears to be a Giantman.
: She is shorter than average. She appears to be youthful. She has piercing vibrant green eyes and pale, alabaster skin. She has thick locks of long, glossy black hair flowing down her back beneath the drape of a sparkling black lace mantilla. She has an angular face, a prominent nose and a fleshy, muscular build with generously proportioned hips. She has a myriad of thin chain-shaped scars running across her exposed flesh.
: She has a deep black cuff of finely polished glaes in the middle of her nose, a deep black ring of finely polished glaes in her lip, a faint scar on her neck, some cross-like blackwork extending from the neck downward past her collarbone, and a tattoo of a crimson heart pierced with a silver dagger on her chest.
: She is holding a barbed white ora whip with a cross-like handle in her right hand.
: She is wearing a writhing black ora cross, a sable lambswool cloak trimmed with ebon-tipped ermine tails, a black iron symbol wrapped in white leather and embossed with a blood-red heart, a firm hourglass girdle of black onyx samite over a lustrous cloth-of-eahnor gown awash in shadowy patination, and some sanguine velvet chopines lofted on scarred ebonwood heels.

== '''Publications and Assorted Stories''' ==

{| role="presentation" class="wikitable mw-collapsible mw-collapsed"
| <strong>'''Mularosian Cadance.''' ''[[Gloumerrick]] Publishing House, 5103''</strong>
|-
|
|
__TOC__
<pre{{log2|font-size=100%|border=none|margin-right=10%}}>
'''a scarlet glaes tome'''
>look tome
Dark and pale silver inlay combine with the translucent scarlet glaes to produce the crest of Mularos upon the surface of the tome. The lines of text on the first page can dimly be glimpsed through the cover, shadowed in sanguine light and faintly touched by the glaes's natural iridescence, though they are not visible enough to be read. A teardrop-cut black diamond has been set into the spine, and engraved letters running down the spine read, "Mularosian Cadence, by Naamit D. Monica".

>
Naamit D. Monica
Mistress of the Harem Dzosch

Years ago, I sought answers and information on my master, Lord Mularos. In these endeavors, I encountered Lord Stumo, who spent many of his own years seeking the answers and clarity I so desired. It is then, that I began to learn all that I could from the man. Years prior, a hooded man came to Wehnimer's Landing and spoke of Lord Mularos. During that visit, Lord Stumo learned of the fate of Mularos - The explanation for His silence.The lore Lord Stumo came across those years ago is the basis for what has since become known as the beginning of Mularosian Cadence.

I have said innumerable times that the Mularos we think of today was not the Mularos of times passed. For long ago Phoen, Kai, and Mularos were allies. Their relationship however, was not of equal portions; Phoen and Kai held a much closer bond. Their natures were vastly more competitive and brutish than that of Mularos. Yet within this, Mularos possessed the charm and physical beauty the other two lacked - Perhaps as a result of his less barbaric nature.

For some reason, (one which I care not to speculate on too heavily lest it be grossly incorrect) Kai specifically took a disliking for Mularos and thus Kai sought to destroy him. Mularos was set to the rack and given lashings by Kai's favored minions. It was enough to destroy most anyone; yet oddly, Mularos did not perish. He was wounded, doubt you not! After a time, with each lashing, he grew from the suffering. When it was announced to Kai that his methods were appearing unsuccessful, he sought the assistance of his brother Phoen. In turn, Phoen suggested a visit to Eonak, metalsmith of the Arkati, for further assistance.

In the meantime, Mularos continued growing from the repeated torture and broke free of his bonds and moved to strike out at Kai! M'Lord struck him such a blow, such an infliction, that Kai was fairly undone for a time. As a result of his own actions, Mularos was further empowered. But not done is the tale, for Phoen saw the happenings and sought out Eonak himself. Phoen rushed to Eonak with a plan for some enclosure to keep Mularos from destroying them all (mind you, Phoen failed to relay the whole story to Eonak). Disgusted with what had transpired, the metalsmith set to create the cell of Phoen's request- One that would keep Mularos at bay for all time.

A trap was set; Mularos was captured and then forced into the cell forged by Eonak. Shortly thereafter, Mularos nearly escaped as his strengthening power had been underestimated by the metalsmith. Eonak couldn't let his creation be undermined that easily, no! He reinforced the tomb with glaes, a magical volcanic glass, and placed upon this tomb, a lock of the strongest magical material he could possibly create. The chamber was placed in the Sea of Fire, a desert region rather well-visited by the likes of the Sun. This place was chosen so that a close eye could be kept on the chamber to ensure Mularos would not again escape. The tomb was so strong that indeed, Mularos could not escape. Due to the translucent nature of the material Eonak used to reinforce the tomb, Phoen's fury literally baked Mularos's flesh for half of each day!

But again as before, Mularos's ways and powers were underestimated and misunderstood by those who meant to destroy him. The Sea of Fire, by its very nature, harms. The situation Mularos was placed in, while seemingly irrevocable, is nearly ideal. Lord Mularos continues to grow and strengthen within the impenetrable tomb; not only through his own suffering, but through the pain of others, just as he had in times passed.

As Stumo set out to answer years ago, I too wish an end to my master's imprisonment. Yet, I know that this is impossible - For His continual suffering is the truth in the binding rhythms of His sacrifice. He bleeds for us, as we bleed for him. The inevitability of this dual servitude cannot be undone.
</pre>
|}
|}
[[File:Berkana_New.png|300px|thumb|left|<b>Berkana LeJardine-Vangauri as rendered by Ysharra Nagorn (using Mid Journey)</b>]]


'''Berkana LeJardine-Vangauri Faendryl,''' the Enigma and Scourge of Eorgina, is a dark elven sorceress and devout follower of [[Eorgina]]. She resides mainly at [[House Brigatta]] in [[Wehnimer's Landing]], where she served as Chair for over a decade. She also maintains a small tower in Ravenswood and a studio at Villa Brigatta on [[Teras Isle]]. She has a fondness for dark chocolate and bad men (and it seems most of them are rogues). During a two-year turn as shira'qa to [[Talinvor]], she learned how to master her psaltery, compose songs and prose, dance to delight the eyes, tantalize the senses, and perform with her aerial silks. Sometimes, you can catch her entertaining at the tavern of the Black Iron Chalice, performing impromptu divination readings for citizens, or baking fresh apricot tarts in the kitchen with Brigatta's cook.
{| role="presentation" class="wikitable mw-collapsible mw-collapsed"
| <strong>'''Menya.''' ''Ebon Gate Storytelling contest, 5117''</strong>
|-
|
<pre{{log2|font-size=100%|border=none|margin-right=10%}}>
Naamit takes a few steps in a small circle.


Superficially seemingly pleasant, Berkana does carry a quiet reputation for having a sharp tongue and being intolerant of fools. Despite her general indifference, she does sometimes travel to the Rift, Old Ta'Faendryl, and Sanctum of Scales to take pity on the dead and animate them. Black roses and the hue of nightshade are often two primary themes that identity much of her wardrobe, which she frequently changes. Favorite flowers are wisteria, nightshade, roses, and daturas. She likes to sip Brigatta's house bourbon, Elanthian Comfort, or their small batch fragrant pear liqueur.
(Naamit screws up her face a moment and shakes her head.)


== '''History''' ==
(Naamit stares a moment at her warm rooibos and assumes a somber, emotionless countenance.)
Born in Eorgaen 4623, Berkana escaped from indentured servitude with an Eorgina caravan, a band of gypsies that had kidnapped her when she was five-years-old. She took up residence in Wehnimer's Landing in 5096, and has been a member of [[House Brigatta]] since. Until recently, she had never considered marriage, and she had a scant handful of long-term relationships, including her two years as shira'qa (pet). She often shied away from centrist politics and shunned some of the zealots, like [[Chaston Griffin]], and other nefarious denizens, save for a moment in 5117 when she was a link to the mind of a girl, one of three Ithzir-touched children, the most infamous of whom was named [[Rodnay]]. The memory of that incident still lives within her, surfacing at times in restless dreams.


Berkana was high priestess of a cult called the Circle of the Grey Moon, loyal to [[Eorgina]], around 5100. During that tenure, she discovered the writings of High Priestess Moriane saVere, and inspired by them, created three rites she continues to perform, most notably, the annual Rite of Dedication. One day, after a particular egregious acolyte once again had disrupted a rite with demands to be elevated, Berkana gathered up her ceremonial items, handed them off to a promising initiate (Naessi) and inducted her as a high priestess, shot one last glare at the offending disruptor, and wandered off for a period of seclusion and worship. The acolyte had a major break with reality and was never seen again — something that likely highly pleased [[Eorgina]]. During an invasion of [[vathor]] in [[Ta'Illistim]], she watched dispassionately from the rooftop garden of the Moonglae Inn with Mithumbras, as the city burned while they both sipped wine, a small smile playing upon her lips, knowing that her Queen would delight in this turn of events.
Naamit tilt your head up.


== '''Relationships''' ==
Naamit slowly begins, "Last night I had a dream.."
There are very few men that have kept Berkana interested. She was in the company of Cosgrave Temaraire for about two-and-a-half years, which ended in 5106. There was a very brief fling of a few weeks with Picler Ralduvian before his untimely disappearance in 5112. She engaged in some mild flirtations since that time, until she met [[Faendryl]] Aurach Moonshadew in 5114. Their two-year relationship ended in the spring of 5116, and she left his home in [[Ta'Illistim]] to return to the Landing, where she met [[Talinvor]], a [[Dhe'nar]]. After several weeks of trying to tempt him, she asked to become his shira'qa, and spent another two years by his side until he released her in Fashanos 5118.


In Koaratos of 5119, Berkana reacquainted socially with Blades Clanners, and they were often together for the next several months... until he wandered off again at the start of 5120.
Roblar smiles at Naamit.


There was only one man who had captured her heart completely, and he had been in and out of her life since late 5097 until late 5117, and has often wandered off for years at a time. Beyond that, casual encounters were exceedingly rare, as delight without some lasting affection was unrewarding and unsatisfying.
Naamit says, "Seven years ago, I was found injured. I do not remember how it happened or where I was exactly. A woman picked me up, nursed me back to health she was like the sister I never had. I think. My childhood is a blur, but faint memories of a pine forest and a small brood of girls happily watched by a tall, broad-shouldered man, this is what plagues my memories despite being dreams."


Then... during the first half of Ivastaen 5121, [[Telagan_(prime)|Telagan]] Vangauri, who had also returned from a long voyage, crossed paths with Berkana (who he'd met many years ago). They've been constant companions since then, creating mayhem and mischief wherever they go; and handfasted, then married, on the 20th day of Lumnea in 5122 and 5123, respectively.
Naamit closes her eyes for a moment.


Few women can get past their envy and jealousy to become friends with Berkana, but those who do find they have a very loyal and trusted friend. Many may find her risqué wardrobe, cunning wit, brazen forwardness, and fierce attitude intimidating — though she'll cloak her demeanor in a veil of politeness while assessing weaknesses — much like a cat watching her prey.
Naamit glances away.


Berkana considers herself to be highly intuitive, with a good ability to assess people for their honesty and genuineness. If she finds someone is a liar or insincere, she'll either outwardly continue to be polite, yet keep a safe distance from them, or she'll excise them out of her life without a word. To engage in deception, unless by devious plan, would otherwise be a waste of time, as well as of no service to Eorgina.
Naamit simply states, "The woman who saved me in the dream, Menya, she was an average-statured woman with brunette hair, so wavy and long. She wore it in a tousled bun and long tendrils perpetually waved around her freckled face."


== '''Controversies''' ==
Naamit distantly says, "Menya's eyes, those pale grey eyes, framed with a spattering of freckles. I will never forget them. She may have been a stranger, but never will I forget her love for me. I don't know how or why she saved me. How I miss her."
While serving as the Head Priestess for the Circle of the Grey Moon (Order of Eorgina), an impulsive and brash acolyte continuously pushed Berkana for an undue promotion despite displaying beliefs and behaviors increasingly incongruent with the Order. In a cold move, upon yet another demand to be elevated from the acolyte, Berkana turned to one of the novitiates standing nearby, elevated her to Priestess instead, and divested herelf of all the trappings of the office of High Priestess, bestowing them on the newly appointed head of the Order. The acolyte, after pitching a fit of pique, was never seen again, and Berkana adopted a quiet retreat of worship.


While performing during the first [[Revelia Carnivale|Revelia Carnivale]] in the year 5121, Berkana, [[Xanthium_(prime)|Xanthium]], and [[Kothos_(prime)|Kothos]] displayed their dance/fire dance and aerial silks skills in the House Brigatta gardens. Toward the end of her show, Berkana's silks caught fire and singed the great banyan tree. If one examines it closely, they might still see the scorching.
Naamit takes a few steps back.


== '''Appearance''' ==
Naamit wistfully says, "Menya used to say, "I love you like my own, love me for who I am. I have saved you and will call you my Leskelle, my happy love." Menya used to say I smiled as she was nursing me back to health. She said I knew her caring was from the heart."
As of the 1st day of Eorgaen in the year 5123:
:You see Luminary Berkana LeJardine Faendryl the Scourge of Eorgina.


:She has a willowy yet curvaceous figure. She appears to be in the flower of life. She has sultry kohl-lashed, silver-limned venom green eyes and flawless, soft ivory skin. She has very long, wavy hellebore red hair glinting with moonlight silver strands and lace-braided on each side of her head. She has a high-cheekboned oval face and slender, upswept ears ending in delicate points. She has full, sensuous lips tinted a pale rose hue. She has dark absinthe patina brushed onto her nicely manicured fingernails.
Naamit nods slowly.


:She has a thorned black wild rose inking on her wrist, a sinuous tendril of mournblooms inked in dark hues on her ankle, a colorful inking of solanaceae on her thigh, a pair of lustrous vaalin rings adorned with fiery emerald bijous in the upper ridge of her left ear, and an intricately inked cilice of curved argent talons on her thigh.
Naamit tilts her head down.


:Embers of red-orange flame spark across her body, crackling as they race upwards into the air.
Naamit sincerely says, "I believe it was true."


:She is wearing a long shadow black leather jacket with a carved obsidian wild rose clasp, a gossamer hoarfrost lace gown, a corbeau ivy-motif filigreed vaalin wedding band, a thin black leather thighband, a pair of hoarfrost lace stockings gartered with thin silvery ribbons, and a pair of niveous white suede boots with sharp crystal heels.
Naamit sighs.


:A fur-filled clowder of cats surround Berkana, the demanding felines meowing in various tones as they brush against her legs, occasionally attempting to nip at her feet.
Naamit solemnly reveals, "Menya indeed nursed me to a fit state, having mended what remained of my left arm which was severed at the forearm. Menya said she would take care of me. She said I could still love, even with one arm. She said I could become a productive warrior. I never wanted to fight anyone, but she didn't ask that."


== '''Performances''' ==
Naamit ponders.
At the 5120 Greystorm Manor Spring Enlightenment Ball, Berkana recited an impromptu sestina called "Vernal Light" — a sestina is a complex, thirty-nine-line poem featuring the intricate repetition of end-words in six stanzas and ending in an envoi.


'''Vernal Light'''
Naamit adds, "At night she would tie me to a tree as I slept to keep me safe. From the bears, she said."


Gone the snow of wintry days when rises the sun,<BR>
Naamit sadly muses, "Menya taught me how to speak without my voice. We moved together, silently. Menya brought me to her people. Other women, who, like me, were afflicted with terrible wounds. These women were all beautiful beyond compare. Not even the maimed were unskilled."
And bleak paleness becomes a rosy imbue in the sky,<BR>
Stark somber grey is now dressed in buds of pale green.<BR>
As lacy white petals herald the sturdy boughs of apple trees.<BR>
Soft scent on the zephyr teases as it wafts by with a caress,<BR>
Tousled tendrils of silken locks rising in a gentle dance.


Together, moth and butterfly flit in a swirling dance,<BR>
Naamit traces the lines of her faint scar.
Glassine wings of dragonflies reflect the brilliant sun,<BR>
Bright yellow blossoms of dandelion offer soft caress,<BR>
And tickle the nose when sniffed and raised to the sky,<BR>
Sheltering, as clouds close in, amid the orchard trees,<BR>
Low rumbles and a clash of light against angry green.


Spring rains give birth to grass and leaves a lush green,<BR>
Naamit curiously says, "I noticed after a time, those injured women seemed to follow the unflawed. Menya told me the women were merely obedient in the face of authority. She told me who I should watch out for."
Sparkling droplets shiver upon laden leaves as they dance,<BR>
Darkened bark nearly black on the damp fruit-baring trees,<BR>
Slowly drying as they are warmed by the reappearing sun.<BR>
Clouds part to reveal perfect blue in a clearing sky,<BR>
Golden light touching flesh, to warm it like a lover’s caress.


Oh, wrap me, surround me in this gently sweet caress,<BR>
Naamit takes a few steps back.
Tumble with me in spring grass, fragrant and green,<BR>
Lift my imaginary wings and let me fly this deep blue sky,<BR>
Light as a feather, on gentle wind do I play and dance.<BR>
Laughter echoes as it surrounds, buoyed by the sun,<BR>
Carefree, swaying with the breeze as we dance among trees.


Shadows grow longer, patterns cast by the trunks of trees,<BR>
Naamit continues, "Months and years went by with Menya. I loved her as a sister, I loved her as she was."
Coolness of the afternoon swirls a shivered caress,<BR>

Lower dips the reddening orb of the setting sun.<BR>
Naamit's lower lip trembles slightly.
Pale and bright, the birth of Spring turns dark green,<BR>

And all that turned and twirled disperse, end their dance,<BR>
Naamit regretfully says, "Menya left me most tragically. We had left the brood to hunt the red stag. How I enjoyed hunting red stag. We were taken down by a pack of bears. She was mauled terribly."
Streaked with carmine, no longer the once unfettered sky.

Naamit's eyes suddenly flash with a pale grey glow.

Naamit tightens her grip on her warm rooibos.

Naamit remorsefully cries, "My Menya was dead when I awoke, her parts torn asunder. What I thought were bears had been very hairy men."

Naamit inhale sharply, hissing through her teeth.

(Naamit glares around the audience, eyeing each man carefully.)

Naamit points at Roblar.

Naamit spits, speaking vehemently to Roblar, "You. I did not know who you were then, but you professed to have been saving me from the twine and bondage. From certain imprisonment and the filth of womanhood."

Roblar pulls the ivory-fanged bear head hood of his bear hide greatcloak over his head, gaining coverage from the gelidity.

Roblar narrows his eyes.

Naamit scrubs her hand through her lustrous charcoal black hair in frustration.

Roblar cracks his knuckles!

Roblar's stomach growls.

Naamit angrily curses, "Had Menya not died, I would have run away with her. She was what I loved and not You! Are YOU that bear, of this I am stil not certain!"

Naamit takes a deep breath.

Naamit turns away from Roblar, ignoring him.

Naamit mumbles, speaking cryptically to herself, "But it is Visne, he calls me now. I am not Leskelle for my Menya and my women, she and they are no more."

Naamit sighs.

(Naamit takes a moment to compose herself.)

Naamit confusedly speculates, "I still think he was lying when he claims I was once his wife. It is irrelevant at this point. That was years ago and he treated me well. He states he nursed me back to health and will love me always. He has, and in this I must put my faith."

Naamit suddenly reveals, "I remember brief glimpses of something. A brood of girls and a tall man wearing bear skin. And then, there are only women. They serenade a disboweled and broken man just before they are flung to the wind, each upon the back of a golden eagle. They look down upon the earth in triumph, but their names and faces are gone and the seance is ruined."

Naamit raises her hand.

Naamit hurriedly gushes, "I can only hope to someday remember who they -- Who I -- Truly am in any of this."

Naamit vaguely concludes, "And tonight, perhaps I will dream of another broken man."

Naamit glances at Roblar.

Naamit takes a few steps back.

Naamit bows.

Roblar gazes at Naamit with a deadpan expression and applauds in slow motion.

Roblar pushes the ivory-fanged bear head hood of his bear hide greatcloak onto his shoulders, exposing himself to the frigidity.
</pre>
|}

== '''Painting''' ==

By way of [[Artist%27s_Easel|a painting easel]].
<section begin=painting />
{| role="presentation" class="wikitable mw-collapsible mw-collapsed"
| <strong>'''Portraiture'''</strong>
|-
|
'''A Heroic Giantkin Male Portrait
:Standing valiantly in the foreground of the painting with his foot planted atop a deceased six-headed maple turkey king is the image of a giantkin man gazing across an open field, his black craquemarte raised high above his head. Grey swirls are lightly sketched across an open black sky, and a full moon's faint outline is scarcely visible beneath the veil of ominous-looking clouds.
:In the Common language, it reads:
:"A rendition of Heartfire Durden" -- by Naamit

'''A Sultry Aelotoi Male Portrait
:Sprawled out across a chaise is the reclined image of an aelotoi male, his crimson-veined luminous yellow eyes turned outward in a sultry gaze. Painted across the canvas backdrop are rows of stark white candles with brilliant yellow-orange flames, the light reflected perfectly in the model's eyes.
:In the Common language, it reads:
:"A rendition of Cruxophim" -- by Naamit

'''an elaborate gold-framed painting
:The painting is a monochromatic red, ranging from a murky sanguine hue to pale carmine in the highlights. Mounted on a pike right through the chin and protruding through the skull, the face of a shriveled halfling stares vacantly ahead. The polee's path might be visible, were it not for a moldered muffin crammed in the creature's gaping maw. Ribbons of skin cut from the cheeks are drawn up above its head and wrapped around the pike's tip in a floppy bow.
:In the Common language, it reads:
:"Muffin Man, 51170429" -- by Naamit

'''an elaborate gold-framed painting
:The painting is a monochromatic red and thoroughly distressed. It's apparent the banshee depicted has one foot in the grave and the other in Luukos's maw. Skin is shriveled upon its crooked frame and dark scarlet flames erupt from bloodied eye sockets. A few braids of chin-length, wavy hair cling to its rotting scalp, while a piece of barbed razern chain is affixed to the canvas as if fused to the bone of its right wrist. What's left of the apparition is cloaked in a pitifully tattered robe.
:In the Common language, it reads:
:"H.C., 51170429" -- by Naamit

'''an elaborate gold-framed painting
:The painting is a monochromatic red, ranging from a murky sanguine hue to pale carmine in the highlights. A tall and robust giantman is depicted in three-quarters view, facing a short, scarred giantwoman with a girdled waist. Her face is devoid of expression. The man's massive craquemarte is held outstretched before him, as if in offering to the female, whose hands are occupied by a whip made of chain. Deeply scrawled, stylized flames mar the bottom third of the image, yet it's clear the man is kneeling.
:In the Common language, it reads:
:"Willing Participant, 51170429" -- by Naamit

'''an elaborate gold-framed painting
:The painting is a monochromatic red, ranging from a murky sanguine hue to pale carmine in the highlights. A tall and robust giantman is depicted amid a mountain of decimated creatures. Limbs, heads and ribcages flayed of flesh and meat surround the man. The massive craquemarte in his right hand is raised high in a mighty, defiant pose despite a complete lack of emotion on his face. Deeply scrawled, stylized flames mar the pile of carcasses in bottom third of the image.
:In the Common language, it reads:
:"Measure of Progress, 51170430" -- by Naamit

'''a pewter fillet-framed painting
:The painting is a monochromatic red, ranging from a murky sanguine hue to pale carmine in the highlights. A tall and robust giantman stares blankly ahead without emotion. His left hand sits aloft on the hip and his stance is curiously wide. A massive craquemarte is held firmly in the figure's right hand, though angled downward toward a heap of dead elves at its feet. Deeply scrawled, stylized flames mar the pile of bodies in bottom third of the image.
:In the Common language, it reads:
:"Submission, 51170429" -- by Naamit

'''an elaborate gold-framed painting
:The description of this image is unavailable, however a corroded, greenish patina covers the gold frame giving it a less than prestigious appearance.
:In the Common language, it reads:
:"Ivastaen Rising, 51170503" -- by Naamit

'''an elaborate gold-framed painting
:The painting is a monochromatic red, ranging from a murky sanguine hue to pale carmine in the highlights. The artwork is mostly devoid of imagery, save for a small, balled up child staring blankly ahead who is tucked away in the distant corner of an otherwise stark room. An off-kilter window sill is painted around a hunk of reflective material affixed to the canvas on the right, while heavy striations along the foreground suggest rotting wood floors.
:In the Common language, it reads:
:"Watch Her, 51170505" -- by Naamit

'''an elaborate gold-framed painting
:The painting is a monochromatic red, ranging from a murky sanguine hue to pale carmine in the highlights. An aged human man with long hair that is lighter hair at the temples, kneels in a three-quarter pose. Cradled in his palms just before his sculpted carmine leather cuirass is the wrist of another, whose forearm extends off to the left edge of the image as if it was the viewer's own. His posture shows restraint, yet moonlit eyes reveal considerable interest in the bloodied appendage before him.
:In the Common language, it reads:
:"Whet I, 51170509" -- by Naamit

'''an elaborate gold-framed painting
:The painting is a monochromatic red, ranging from a murky sanguine hue to pale carmine in the highlights and is rendered in first-person view. The foreground contains a pair of scarred and shapely thighs that are bent at the knee. Rows of unintelligible scrawling mars the subject's left leg. The raised platform of a chopine is visible far to the right, suggesting the subject is haphazardly slumped on the ground. Atop the knees rests a similarly scarred, thick right arm and utterly limp, outstretched hand.
:In the Common language, it reads:
:"Tribulation I, 51170513" -- by Naamit

'''an elaborate gold-framed painting
:The painting is a monochromatic red, ranging from a murky sanguine hue to pale carmine in the highlights. Propped up against a chaise is the image of a limbless halfling male, his eyes turned outward in a sultry gaze. Painted across the canvas backdrop are rows of severed fingers topped with brilliant flames, the light reflected perfectly in the model's eyes. A voluminous pastry is perched to the far end of the tiny chaise, obviously out of reach.
:In the Common language, it reads:
:"Muffin Man II, 51170514

'''an elaborate gold-framed painting
:The painting is a monochromatic red, ranging from a murky sanguine hue to pale carmine in the highlights. Dark and moody, the scene takes place in what might be a cellar, though the audacious creatures milling about make it suspect. Far to the left, a small, hobbled halfling watches greedily as a slender female elf is being roasted alive in the foreground. The unfortunate spectacle must be thanks to a human wizard standing near the rear, whose flame-enshrouded hands stand out amidst the haze.
:In the Common language, it reads:
:"Collaboration I, 51170520" -- by Naamit Braggiani

'''an elaborate gold-framed painting
:The description of this image is unavailable.
:In the Common language, it reads:
:"Handsman I, 51170520" -- by Naamit Braggiani

'''an elaborate gold-framed painting
:The painting is a monochromatic red, ranging from a murky sanguine hue to pale carmine in the highlights. The gaping maw of an undead hippopotamus consumes the majority of the image. In place of the typical flat teeth are rows upon rows vicious incisors upon which a fat, bloated tongue lays listlessly off-center. Treated with high gloss, tendrils of dark fluid trickle from its slack mouth. A web of cartilage and rotting flesh hangs over its upper jaw representing what once was a snout.
:In the Common language, it reads:
:"Curious Creature I, 51170521" -- by Naamit Braggiani

'''an elaborate gold-framed painting
:The painting is a monochromatic red, ranging from a murky sanguine hue to pale carmine in the highlights. It features the visage of a young gnome, however a crazed rolton with snakes for horns gnaws at the man's riotously curled hair. Stubby fingers stretched upright before him, the subject's attempted jab is suspended mid-attack. Whether the strike would make purchase at his own forehead or that of the creature's is unclear; twisted cloth adhered across the figure's eyes distorts the perspective.
:In the Common language, it reads:
:"Curious Creature II, 51170522" -- by Naamit Braggiani

'''an elaborate gold-framed painting
:The painting is a monochromatic red, ranging from a murky sanguine hue to pale carmine in the highlights. The rear view of a robust elven man is depicted in desolation without background nor context. His arms and legs are stretched mercilessly wide at angles slightly off from each corner of the image. The man's head is shorn and hangs listlessly. Heavy stippling in a high gloss is splashed across the subject's back, while dark tendrils encircle each leg, licking at his hips and posterior.
:In the Common language, it reads:
:"Subject I, 51170526" -- by Naamit Braggiani

'''an elaborate gold-framed painting
:The painting is a monochromatic red, ranging from a murky sanguine hue to pale carmine in the highlights. It is a desolate and isolated scene composed of a man kneeling, with head bowed. The background is dark, while a hazy ray of light filters down to highlight the man's bare back. His flesh is crisscrossed with terrible scars. Just barely visible in the shadows is the faint outline of a pair of eyes that are directed toward the subject.
:In the Common language, it reads:
:"Subject II, 51170528" -- by Naamit Braggiani

'''an elaborate gold-framed painting
:The horizontal, oval-shaped painting is mostly monochromatic red, ranging from a murky sanguine hue to pale carmine in the highlights. Tall and short, a woman and man are facing each other, necks outstretched yet devoid of emotion. The young half-elven woman's flesh is heavily scarred and a large black bird is crouched on her back. Meanwhile, the dwarven man's shoulders sag under the weight of a massive horseshoe hung around his neck. Matted into the surface of the painting are gobs of dark red hair.
:In the Common language, it reads:
:"Symbols I, 51170601" -- by Naamit Braggiani

'''an elaborate gold-framed painting
:The painting is mostly monochromatic red, ranging from a murky sanguine hue to pale carmine in the highlights. Posed back to back, a youthful woman and a skeleton stare blankly outward. The maiden is all but naked and holds a small flower over her breast in one hand while the other is cupped over her groin in a gesture of modesty. The skeleton is missing the lower half of its jaw and worms crawl beneath its weighty robe. A serpent reaches from the gaping pit above its collarbone.
:In the Common language, it reads:
:"Impermanence I, 51170616" -- by Naamit Braggiani

'''an elaborate gold-framed painting
:The painting is mostly monochromatic red, ranging from a murky sanguine hue to pale carmine in the highlights. Sad and dejected, a pair of small puppies are depicted as huddled masses in the corner. Devoid of flesh, their vertebrae poke through creating a pair of curious arcs leading toward the center of the image. A sole carrot lays at the foot of each beast, utterly ignored. Behind the pair, four moons varying in size cast chaotic light and shadow upon the unfortunate scene.
:In the Common language, it reads:
:"Curious Creature III, 51170622" -- by Naamit Braggiani

'''a scalloped ivory-framed painting
:The painting is a mostly monochromatic red and depicts a small garden bower in excruciating detail. The foreground shows a regally dressed elven woman in a grievously crestfallen pose. With hands clawing at her belly in anguish, she stares at the mangled corpse of a male elven infant laid in the lush grass. Behind her stands a robed elven man, one hand on her shoulder, as if in consolation. Yet a slight smirk cracks his lips and unlike the rest of the image, his eyes yield a curious violet gleam.
:In the Common language, it reads:
:"Ritual Dreaming I, 51170901" -- by Naamit Braggiani

'''a scalloped ivory-framed painting
:The painting is a mostly monochromatic red and depicts a small garden bower in excruciating detail. The foreground shows a regally dressed elven woman perched almost meditatively in the lush grass. Her eyes are glazed over and gazes off into the distance, as if in an uncontrollable trance. Before her kneels a robed elven man in three-quarter pose, both hands held in hers. His lips are slightly parted and unlike the rest of the image, his eyes yield a noticeably violet gleam.
:In the Common language, it reads:
:"Ritual Dreaming II, 51170901" -- by Naamit Braggiani

'''a scalloped ivory-framed painting
:The painting is a mostly monochromatic red and depicts a small garden bower in excruciating detail. A robed elven man kneels in three-quarter pose, cradling the lifeless body of an elven woman. Her regal dress is intact, but horribly stained in the same sanguine shade that bathes the lush grass surrounding them. A gash across the neck exposes her trachea as her head hangs unsupported. A hint of a smile traces his lips and unlike the rest of the image, his eyes yield a malevolent, violet gleam.
:In the Common language, it reads:
:"Ritual Dreaming III, 51170901" -- by Naamit Braggiani

'''an elaborate gold-framed painting
:The etched print on rag paper is mounted bare within a vertical frame, hand-torn edges visible. Rendered in fine intaglio, the monochromatic red image depicts a half-elven woman with curled tresses gazing down from the second story balcony of a veranda. She holds one hand to her breast in a gesture of modesty, and the other aloft, fingers curled with invitation. Heavy hatching yields shadows on the skirts of her gown between the balusters, each rung a slender twist of alternating pigment and white space.
:In the Common language, it reads:
:"Professional Courtesy, 5118
|}

{| role="presentation" class="wikitable mw-collapsible mw-collapsed"
| <strong>'''Landscapes and Still Lifes'''</strong>
|-
|
'''A Bench Painting
:Slanted at an angle with no regard for perspective, the bench on the canvas would likely roll its occupants to the ground were it real.
:In the Common language, it reads:
:"Sit With Me" -- by Naamit

'''an elaborate gold-framed painting
:The painting is a monochromatic red, ranging from a murky sanguine hue to pale carmine in the highlights. A ribcage and spine, devoid of meat and organs, grace the center of the canvas. The vertebrae are assembled in a crooked fashion while the right ribs are bent outward at an unusual angle. A deflated assemblage of what might be skin is piled at the bottom of the image alongside a trail of viscera. Bone shards are carefully arranged along the painting's golden frame.
:In the Common language, it reads:
:"Inside I, 51170507" -- by Naamit

'''an elaborate gold-framed painting
:This artist's proof is a monochromatic red, ranging from a murky sanguine hue to pale carmine in the highlights. Focused on a massive vat, only the matted scruff of a creature's head is visible above the steaming, burbling surface. A small, withered arm several missing fingers is flopped lifelessly over the edge of the vessel. The foreground is taken up by vaguely rendered heaps of herbs, an assortment of butcher's knives, a pair of wine glasses, and an artfully posed dead hare.
:In the Common language, it reads:
:"Cover for Cookbook, 51170520" -- by Naamit Braggiani

'''an elaborate gold-framed painting
:Puffy clouds treated in a scumbling technique grace the rich, gradated sky of this monochromatic red landscape painting. Pale-peaked, heavy upward-swooping strokes suggestive of a mountain range dominate the middle ground, while a plethora of stick-like trees and spindly spires take up residence in the lower portion of the image. A trail snakes through all three, culminating with a fiery setting sun, just visible at the mountain pass in the center of the image. :In the Common language, it reads:
:"DragonSpine Sunset I, 51170523" -- by Naamit Braggiani

'''an elaborate gold-framed painting
:The painting is mostly monochromatic red, ranging from a murky sanguine hue to pale carmine in the highlights. The still-life represented is anything but alive: a bleached elven skull in the center-left of this rectangular painting has a massive hole punched in where its left eye socket used to be. The skull is surrounded by an assortment of half-eaten and rotten food. Behind the gruesome display stands a diminutive vase holding a nondescript, ecru parchment flower adhered to the surface of the painting.
:In the Common language, it reads:
:"Impermanence II, 51170620" -- by Naamit Braggiani

'''an elaborate gold-framed painting
:The painting is a mostly monochromatic red, ranging from a murky sanguine hue to pale carmine in the highlights. Set beneath a domed enclosure cut from the native rock of the mountain, the floor is perfectly smooth but its vaulted ceiling is chiseled in a complex webwork of arches and flying buttresses. In the center of the room sits a solitary, sleek stone altar bathed in a cool blue light. Illuminated upon the onyx slab is a crumbled pile of what can only be deathstone.
:In the Common language, it reads:
:"Adventure I, 51170707" -- by Naamit Braggiani

'''an elaborate gold-framed painting
:The painting is a mostly monochromatic red, ranging from a murky sanguine hue to pale carmine in the highlights. Set beneath a domed enclosure cut from the mountain, the floor is smooth. Its high ceiling is chiseled in a complex webwork of ribbed lancet vaults while flying buttresses are barely visible in the shadows of the outer aisle. In the center of the room stands a solitary, sleek stone altar bathed in a hazy light that radiates from above. Illuminated upon the onyx slab is a smattering of bones.
:In the Common language, it reads:
:"Adventure II, 51170708" -- by Naamit Braggiani
|}


Slumber casts its pall over the land, the sleeping sky,<BR>
{| role="presentation" class="wikitable mw-collapsible mw-collapsed"
Slender trunks like thin dark ghosts, these lined trees,<BR>
| <strong>'''Experimental'''</strong>
Ghostly moonlight shivers through leaves in a flirting dance,<BR>
Casting lighted patterns all around in illusory caress.<BR>
Hours pass, and then, black fades to become again green,<BR>
With the reappearance of the vernal light and morning sun.


Another day and dance, another brilliant golden sun.<BR>
[[Category:Adventurers]]
Gather me sweet sky, that I might soar above the trees,<BR>
That I indulge in your stroking caress, amid the pale green.

Latest revision as of 21:03, 5 December 2023

Berkana LeJardine-Vangauri Faendryl
Race Dark Elf
Culture Faendryl
Class Enigma, Scourge of Eorgina
Profession Sorcerer
Religion High Priestess of Eorgina, Order of the Circle of the Grey Moon
Affiliation(s) Past-Officer (Chair), Emeritus of House Brigatta, member of Faendryl Enclave, Order of the Shadow, Black Iron Chalice
Disposition Sensual and teasing
Demeanor Neutral to strangers
Flaw None she would admit
Greatest Strength Putting people in their place
Greatest Weakness Susceptible to flattery
Habits Running a hand through her long hair
Hobbies Ensorcelling, journaling, baking, creative outlets (music, dance, aerial silk performance, prose)
Likes Tea, dark chocolate, smooth-talking men
Dislikes Petty, jealous, or unkind women, a majority of the elder Dhe'nar, those who are fashion deficit
Fears Pastels
Loyalties Eorgina
Best Friend Some, though few really trusted (Lylia, Telagan, Mithumbras, Shaelethe, Talinvor)
Berkana LeJardine-Vangauri as rendered by Ysharra Nagorn (using Mid Journey)

Berkana LeJardine-Vangauri Faendryl, the Enigma and Scourge of Eorgina, is a dark elven sorceress and devout follower of Eorgina. She resides mainly at House Brigatta in Wehnimer's Landing, where she served as Chair for over a decade. She also maintains a small tower in Ravenswood and a studio at Villa Brigatta on Teras Isle. She has a fondness for dark chocolate and bad men (and it seems most of them are rogues). During a two-year turn as shira'qa to Talinvor, she learned how to master her psaltery, compose songs and prose, dance to delight the eyes, tantalize the senses, and perform with her aerial silks. Sometimes, you can catch her entertaining at the tavern of the Black Iron Chalice, performing impromptu divination readings for citizens, or baking fresh apricot tarts in the kitchen with Brigatta's cook.

Superficially seemingly pleasant, Berkana does carry a quiet reputation for having a sharp tongue and being intolerant of fools. Despite her general indifference, she does sometimes travel to the Rift, Old Ta'Faendryl, and Sanctum of Scales to take pity on the dead and animate them. Black roses and the hue of nightshade are often two primary themes that identity much of her wardrobe, which she frequently changes. Favorite flowers are wisteria, nightshade, roses, and daturas. She likes to sip Brigatta's house bourbon, Elanthian Comfort, or their small batch fragrant pear liqueur.

History

Born in Eorgaen 4623, Berkana escaped from indentured servitude with an Eorgina caravan, a band of gypsies that had kidnapped her when she was five-years-old. She took up residence in Wehnimer's Landing in 5096, and has been a member of House Brigatta since. Until recently, she had never considered marriage, and she had a scant handful of long-term relationships, including her two years as shira'qa (pet). She often shied away from centrist politics and shunned some of the zealots, like Chaston Griffin, and other nefarious denizens, save for a moment in 5117 when she was a link to the mind of a girl, one of three Ithzir-touched children, the most infamous of whom was named Rodnay. The memory of that incident still lives within her, surfacing at times in restless dreams.

Berkana was high priestess of a cult called the Circle of the Grey Moon, loyal to Eorgina, around 5100. During that tenure, she discovered the writings of High Priestess Moriane saVere, and inspired by them, created three rites she continues to perform, most notably, the annual Rite of Dedication. One day, after a particular egregious acolyte once again had disrupted a rite with demands to be elevated, Berkana gathered up her ceremonial items, handed them off to a promising initiate (Naessi) and inducted her as a high priestess, shot one last glare at the offending disruptor, and wandered off for a period of seclusion and worship. The acolyte had a major break with reality and was never seen again — something that likely highly pleased Eorgina. During an invasion of vathor in Ta'Illistim, she watched dispassionately from the rooftop garden of the Moonglae Inn with Mithumbras, as the city burned while they both sipped wine, a small smile playing upon her lips, knowing that her Queen would delight in this turn of events.

Relationships

There are very few men that have kept Berkana interested. She was in the company of Cosgrave Temaraire for about two-and-a-half years, which ended in 5106. There was a very brief fling of a few weeks with Picler Ralduvian before his untimely disappearance in 5112. She engaged in some mild flirtations since that time, until she met Faendryl Aurach Moonshadew in 5114. Their two-year relationship ended in the spring of 5116, and she left his home in Ta'Illistim to return to the Landing, where she met Talinvor, a Dhe'nar. After several weeks of trying to tempt him, she asked to become his shira'qa, and spent another two years by his side until he released her in Fashanos 5118.

In Koaratos of 5119, Berkana reacquainted socially with Blades Clanners, and they were often together for the next several months... until he wandered off again at the start of 5120.

There was only one man who had captured her heart completely, and he had been in and out of her life since late 5097 until late 5117, and has often wandered off for years at a time. Beyond that, casual encounters were exceedingly rare, as delight without some lasting affection was unrewarding and unsatisfying.

Then... during the first half of Ivastaen 5121, Telagan Vangauri, who had also returned from a long voyage, crossed paths with Berkana (who he'd met many years ago). They've been constant companions since then, creating mayhem and mischief wherever they go; and handfasted, then married, on the 20th day of Lumnea in 5122 and 5123, respectively.

Few women can get past their envy and jealousy to become friends with Berkana, but those who do find they have a very loyal and trusted friend. Many may find her risqué wardrobe, cunning wit, brazen forwardness, and fierce attitude intimidating — though she'll cloak her demeanor in a veil of politeness while assessing weaknesses — much like a cat watching her prey.

Berkana considers herself to be highly intuitive, with a good ability to assess people for their honesty and genuineness. If she finds someone is a liar or insincere, she'll either outwardly continue to be polite, yet keep a safe distance from them, or she'll excise them out of her life without a word. To engage in deception, unless by devious plan, would otherwise be a waste of time, as well as of no service to Eorgina.

Controversies

While serving as the Head Priestess for the Circle of the Grey Moon (Order of Eorgina), an impulsive and brash acolyte continuously pushed Berkana for an undue promotion despite displaying beliefs and behaviors increasingly incongruent with the Order. In a cold move, upon yet another demand to be elevated from the acolyte, Berkana turned to one of the novitiates standing nearby, elevated her to Priestess instead, and divested herelf of all the trappings of the office of High Priestess, bestowing them on the newly appointed head of the Order. The acolyte, after pitching a fit of pique, was never seen again, and Berkana adopted a quiet retreat of worship.

While performing during the first Revelia Carnivale in the year 5121, Berkana, Xanthium, and Kothos displayed their dance/fire dance and aerial silks skills in the House Brigatta gardens. Toward the end of her show, Berkana's silks caught fire and singed the great banyan tree. If one examines it closely, they might still see the scorching.

Appearance

As of the 1st day of Eorgaen in the year 5123:

You see Luminary Berkana LeJardine Faendryl the Scourge of Eorgina.
She has a willowy yet curvaceous figure. She appears to be in the flower of life. She has sultry kohl-lashed, silver-limned venom green eyes and flawless, soft ivory skin. She has very long, wavy hellebore red hair glinting with moonlight silver strands and lace-braided on each side of her head. She has a high-cheekboned oval face and slender, upswept ears ending in delicate points. She has full, sensuous lips tinted a pale rose hue. She has dark absinthe patina brushed onto her nicely manicured fingernails.
She has a thorned black wild rose inking on her wrist, a sinuous tendril of mournblooms inked in dark hues on her ankle, a colorful inking of solanaceae on her thigh, a pair of lustrous vaalin rings adorned with fiery emerald bijous in the upper ridge of her left ear, and an intricately inked cilice of curved argent talons on her thigh.
Embers of red-orange flame spark across her body, crackling as they race upwards into the air.
She is wearing a long shadow black leather jacket with a carved obsidian wild rose clasp, a gossamer hoarfrost lace gown, a corbeau ivy-motif filigreed vaalin wedding band, a thin black leather thighband, a pair of hoarfrost lace stockings gartered with thin silvery ribbons, and a pair of niveous white suede boots with sharp crystal heels.
A fur-filled clowder of cats surround Berkana, the demanding felines meowing in various tones as they brush against her legs, occasionally attempting to nip at her feet.

Performances

At the 5120 Greystorm Manor Spring Enlightenment Ball, Berkana recited an impromptu sestina called "Vernal Light" — a sestina is a complex, thirty-nine-line poem featuring the intricate repetition of end-words in six stanzas and ending in an envoi.

Vernal Light

Gone the snow of wintry days when rises the sun,
And bleak paleness becomes a rosy imbue in the sky,
Stark somber grey is now dressed in buds of pale green.
As lacy white petals herald the sturdy boughs of apple trees.
Soft scent on the zephyr teases as it wafts by with a caress,
Tousled tendrils of silken locks rising in a gentle dance.

Together, moth and butterfly flit in a swirling dance,
Glassine wings of dragonflies reflect the brilliant sun,
Bright yellow blossoms of dandelion offer soft caress,
And tickle the nose when sniffed and raised to the sky,
Sheltering, as clouds close in, amid the orchard trees,
Low rumbles and a clash of light against angry green.

Spring rains give birth to grass and leaves a lush green,
Sparkling droplets shiver upon laden leaves as they dance,
Darkened bark nearly black on the damp fruit-baring trees,
Slowly drying as they are warmed by the reappearing sun.
Clouds part to reveal perfect blue in a clearing sky,
Golden light touching flesh, to warm it like a lover’s caress.

Oh, wrap me, surround me in this gently sweet caress,
Tumble with me in spring grass, fragrant and green,
Lift my imaginary wings and let me fly this deep blue sky,
Light as a feather, on gentle wind do I play and dance.
Laughter echoes as it surrounds, buoyed by the sun,
Carefree, swaying with the breeze as we dance among trees.

Shadows grow longer, patterns cast by the trunks of trees,
Coolness of the afternoon swirls a shivered caress,
Lower dips the reddening orb of the setting sun.
Pale and bright, the birth of Spring turns dark green,
And all that turned and twirled disperse, end their dance,
Streaked with carmine, no longer the once unfettered sky.

Slumber casts its pall over the land, the sleeping sky,
Slender trunks like thin dark ghosts, these lined trees,
Ghostly moonlight shivers through leaves in a flirting dance,
Casting lighted patterns all around in illusory caress.
Hours pass, and then, black fades to become again green,
With the reappearance of the vernal light and morning sun.

Another day and dance, another brilliant golden sun.
Gather me sweet sky, that I might soar above the trees,
That I indulge in your stroking caress, amid the pale green.