cattleya baudelaire

The White Camellia Princess and the Red Rose Prince (and Violet Evergarden)

From Episode 1, Violet Evergarden has relished in Victorian-era trappings. Its concern with flower language, and Victorian floriography began in earnest during Episode 2 thanks to Haruka Fujita’s careful direction and continued through Episode 4 with Iris Cannary talking about the iris fields near her childhood home that became her namesake.

In the series’ fifth episode, we see floral messages put into literal action through Naoko Yamada’s storyboards. Yamada previously employed floriography as another, unspoken form of communication throughout the film A Silent Voice. In her episode of Violet Evergarden, flowers are exchanged along with love letters between the heads of two kingdoms. Each kingdom is also represented by a specific flower.

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A person worthy of that name: Violet Evergarden (and more Victorian flower language)

From the Roman name, Aemilia, latin word aemulus meaning rival. Industrious, hard-working, stubborn, obstinate.

When I first looked up my given name, I found something similar to the etymology and list of adjectives above. Yet, none of these explained why my parents decided to name me Emily. After all, they had no way of knowing that this ugly, squalling baby would be a diligent worker, at all stubborn, or competitive in any way. (I assert that I am some, if not all of these things at times.) So, I was named after my great-grandmother whom I never knew. My mother was close with her despite speaking no Italian — my great-grandmother was from Sicily — and my great-grandmother speaking little to no English.

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The written word and more Victorian-era trappings in Violet Evergarden

The Victorian-era trappings of Violet Evergarden are no accident. Victorian Great Britain has, retroactively, become a divergence point in fiction where, if industry had advanced along this particular timeline rather than another, things would have been different. This, along with rich aesthetic trappings that accompany any economic boom in history, make it a much-desired setting, begetting the entire steampunk genre.

A key factor to keep in mind when evaluating steampunk as a fiction genre is the boom of 19th-century novelists — and the novel as a leisure activity in and of itself — that accompanied the Industrial Revolution. Charles Dickens, the Brontë sisters, William Thackeray, and Mary Anne Evans (George Eliot) are all products of this time period. After them came Jules Verne, H.G. Wells, and the scientific romance (later called scientific fiction, or sci-fi). Many works that are considered great or integral to understanding the development of western culture were written in or around the time of Queen Victoria. Since they are taught so often in schools, it’s easy to see how aspiring writers would want to take elements of these lush environments and somehow port them into a more modern era.

Not everyone can write in Violet Evergarden. This is an understated but important aspect of where Victorian culture and the novel frame the series’ narrative. It creates a barrier between those who can write, or even have access to someone writing for them, and those who cannot.

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