Nicknames: Milly when she was a girl
Birthdate: March 8th, 1836
Current Age: 57 Years
Gender: Female
Occupation: Philanthropist Socialite
Reputation: 7 or 8 - Emilia's only son is a very well known liberal/leftist activist and although he doesn't live with the family, he hasn't been disowned. Emilia herself though is the picture of a dutiful widow who stirs no drama.
Residence: The Wright family estate, somewhere in England
Hogwarts House: Ravenclaw
Wand: Pliant, 11'', elm wood and unicorn tail hair core
Blood Status: Halfblood
Social Class: Upper Class
Family:
Michael Wright, late husband [1825 - 1884]Appearance:
Jude Wright, son [1860]
Alexander King, brother [1842 - 1882]
and family
Emilia was considered one of the beauties of her Season (at least as far as her face was concerned) with her fine features, blonde hair and blue eyes. She remains a rather attractive woman, if one looks past her age. Living a comfortable, wealthy life allowed her to age more gracefully than a woman of a lower station. Any fine lines and wrinkles are due to a skin with a tendency for dryness, than any actual worries that might have paved her face.
Emilia is of an average height although optically appears taller. She has always been a lean woman, with an almost flat chest and long limbs. She holds herself in grace and in truth, robes have always looked better on her than muggle dresses, as they compliment her figure better. In any case, Emilia knows to wear the appropriate clothes for the appropriate occasions. Colour-wise, nowadays she favours cold, light colours: apple green being her favourite.
She is right handed.
History:Emilia, or Milly as she is called throughout her childhood, is the only daughter born to an upper class pair. She is a very polite child, the joy to all of her governesses. She always plays by the book, she listens more than she speaks and usually puts her own needs and desires to the side so her brother and friends are happy. From a young age, Milly understands that, as a girl, her role is to please those around her. It is her duty to be pretty and pleasant, to nurture others.
Perhaps that is why Milly's hobbies grow to be individualistic in nature: painting and reading, most prominently. There, she doesn't have to put others' desires first, she can paint on her own, for herself and she reading has always been something that one largely does on her own. She also enjoys taking solo strolls around her family home's grounds, for hours at a time, lost in thought. She enjoys thinking about her books and then letting her imagination stray even further, imagining alternative endings, as well as independent storylines for the side characters. Sometimes, she writes these ideas down, but she hides her stories at the very end of her shelves, feeling embarrassed by the idea of anyone finding them.
Milly's first sign of magic is also the only time she overreacted at childhood. She's around eight or nine when her younger brother, Alexander, found one of her stories. In a typical childish fashion, Alexander runs around and reads mockingly bits of Milly's story, who's chasing him to try and get it back. Then, the papers catch fire, hurting her brother's hands in the process. Both of the children are chastised for ruckus they created and Milly feels betrayed when she gets a stern lecture about how she, as the older sister, ought to be the peacemaker and the responsible of the two. Growing up, she noticed how her brother would be put first for everything. He could be childish all he liked and his desires would be fulfilled, because he was a boy. She, on the other hand, could never really voice her opinion and be anything less than compliant and polite.
It feels unfair, but that is life and if people had decided the roles ought to be divided that way, then it had to be right. Milly cannot challenge this and she tries to take joy into making others' life better.
Her school years are the happiest of Emilia's life, as she can be her own person.
She is sorted into Ravenclaw, the Hat sensing her love for learning. Indeed, even though the education she received at home was the one typical of an upper class girl (etiquette, French, music), Emilia quickly excels at her Hogwarts classes. Ever the pristine and proper little girl, one can now see Emilia getting herself dirty brewing potions, tending to magical plants, charming and transfiguring items. She spends endless hours either in the Ravenclaw tower, or at the library, studying this new thing with her fellow Ravenclaws. She grows popular, because in spite of her academic success, she is always willing to help others.
She has a hard time picking her electives in her third year, but in the end decides on Ancient Studies and, to the surprise of many, Muggle Studies. Emilia is truly fascinated to learn how non-magical people get to live their lives without the conveniences of magic.
It is no surprise to anyone when in her fifth year she is picked as Ravenclaw's new female prefect, as she excels both academically and she's popular and well liked among the student in her house. Emilia can be found helping the younger students of her house complete their school work. Some people comment on what a good mother she would make and while she outwardly accepts this compliment warmly, inside her, it scares her. She is not ready to leave Hogwarts, and to embrace womanhood. To become like her mother, beautiful, kind, but aloof and always seemingly dissatisfied with her life, in spite of her wealth and comforts. She knows that as a society wife, she will not be able to pull all nighters studying complex transfiguration. While she does enjoy hosting study groups, she is not ready to find a life where her only job would be to be a hostess fulfilling.
Thankfully, her parents send her for a year of finishing school after her graduation. It is depressing to replace her Hogwarts curriculum with that of the finishing school, but Emilia keeps those feelings only to her journals. She tries to tell herself that is not too bad, she can continue her studies (most prominently, that of becoming an Animagus) at finishing school. Sadly, that soon appears to be impossible. There are some rituals to becoming an Animagus that are impossible to perform, like keeping a mandrake leaf in her mouth for a month.
At least she makes some good friends at finishing school, a group of similarly aged women. Her closest friend is one Miss Wright, the sister of the man who would become her husband. She meets Michael through his sister and Emilia, who doesn't have much experience beyond some innocent Hogwarts flirtations, is rather charmed by him. In truth, Michael had decided that would be the year to find a wife and his sister's charming, pretty friend was an excellent choice. He has more experience than Emilia and knows how to charm the girl and the pair are engaged by the time Emilia's school year finishes.
Once married, it is very clear that Emilia and Michael aren't the best pair. The first problem: their eleven-year age gap. Michael is much more mature and somber than his young wife. While both of them share a love for reading, Michael doesn't seem to enjoy his wife's attempts at academic discussion. He is dismissive, condescending or outright defensive when Emilia seems to know something better than him. After a dinner party, where Emilia enjoyed discussing academics with some of his colleagues, Michael pulls her aside and tells her that she'd stepped out of line and made him look the fool.
Emilia grows depressed - while she enjoys being around people, she doesn't find being a hostess fulfilling, when she can't participate in the discussions she wants. Then, there's her husband, who while very far from cruel, is very cold towards her. He doesn't even visit their marital bed very often, and yet she is the one who has to hear the short end of the stick about them still not having produced any children! In truth, Emilia is rather glad not to be pregnant yet, as in her experience, pregnancies often lead to death and then, if they survive them, many women in her circle seemed unfulfilled by their new duties as a mother. Still, she dislikes the covert accusations that she'd failed her husband in not delivering him a child, when he's the one who's not actively participating in the child-making act.
After five years of marriage, they finally welcome a son, Jude. Both Emilia and Michael are relieved by the baby's sex - while many couples would like to have a spare as well, having an heir means that they won't have to try that much harder for other children. Truth be told, Emilia would have liked to have a daughter, for she fears that her Jude will grow up to be just like his father and then she'd be all alone. At least a girl would be hers, a companion.
She is not very present for Jude's first years of life. She doesn't know how to handle babies, finding them awkward and frankly rather boring to be around. They can't talk or do much of anything. The first memories she has of being with her son were when he was already a toddler who could mutter some words. She is happy to see that her boy is growing to be curious and intelligent. His tutor, Mr. L. Larke, bemusingly tells her of all the questions her boy is bombarding him with. Good. His father, while intelligent enough, never shows any interest in learning beyond the superficial and necessary.
Her boy's first sign of magic is to barricade the kitchens, apparently in an attempt to rescue the family house elf. Personally, Emilia finds this childish act of heroism rather adorable and when she sees how it angers her husband, she is half tempted to tell her son to give the creature a piece of clothing so its freed for good. In any case, she can't stray from what her husband wishes and if he wants them to stop their son, stop him they must.
In time, Emilia gets more comfortable in the role of a wife, mother and socialite, or perhaps her soul has gotten used to the ache of not living life for herself. She has a rich social calendar, people enjoy attending events hosted by her, she has many friends and even finds some innocent flirtations to distract her from her husband's dour company. But deep down, she would have liked to be more herself, spend more time focusing on her studies. She never finds the time to complete her Animagus transformation, as she'd dreamed when she was at Hogwarts. The times when she tries to experiment with new spells or potions, her husband mocks her.
When Jude goes to Hogwarts, it presents a new opportunity for Emilia. Under the guise of caring about her sons education, she indulges in her academic love by helping him with schoolwork when he returns home for the holidays. She also writes him long letters, curious to see what her son is learning at Hogwarts. It is the first time that she's shown this much interest to the boy and this lasts only for Jude's first two years at Hogwarts. As Jude grows from a child to a teenager, he and his parents grow more and more apart. Jude often gets into heated debates with her husband and while Emilia takes some pleasure in seeing her husband antagonized, she doesn't take her son's side, at least not to his face. Privately, she always urges Michael to let the boy be -- he's only a teenager, that is how they act!
Thing is, Jude's nature doesn't quiet down after graduation. He joins the department of Law Enforcement as a lawyer, which is initially somewhat good, but he doesn't stop there. Most of the Wrights' dinner parties are ruined when Jude gets into heated debates on the rights of this or that marginalized group, either with his father, or the guests. Truthfully, Emilia finds some pride in seeing how eloquent her son is, but she is also frightened. She'd never been the sort to question the status quo, step out of line. She'd always put her desires to the side to please her parents, her brother, her husband. Granted, she is a woman, but she is worried that Jude's gender will not be able to save him from himself.
Her worst fears come when Michael (with Emilia sadly on his side) threaten their son with disownment if he doesn't start behaving. She is heart broken when her son decides to move out of the house. For the first time in years, she blames her husband for kicking her boy out of the house. The thing is, though, that Jude never really knows of his mother's feelings. The two had never been close and Emilia feels awkward to reach out to him. She only makes her trusted footman "spy" on him and finds out that he's fraternizing with the poor and the unlucky. She is horrified to know that her son is living like that -- what is he eating, where is he sleeping? What if he catches a decease? What if these friends are taking advantage of him for his money?
She only manages to write some awkward and frankly cold letters on holidays and Jude's birthday. Over the years, some attempts at rekindling their relationships are made, but they all fall apart. It really seems like they will never get their boy back and Emilia always blames her husband for not letting him be himself a bit more. Perhaps if he hadn't antagonized Jude so much, he wouldn't have felt the need to go to the other extreme!
When her brother Alexander perishes at sea with his wife, Emilia is heartbroken and even more afraid that something will happen to her son as well .It is in this mood that she convinces her husband not to disown their son and to not give up on him. Family is important and it can be lost so easily!
And that easily Michael is lost to the Laughing plague.
Emilia gets the sickness herself but she manages to pull through. Although she and Michael had never been the loving couple, she still mourns his death. The truth was, they'd grown to have a strange form of friendship between themselves.
Michael's passing initially brings Emilia closer to Jude, who has now inherited the most of Michael's estate. She is horrified, however, when he seems all but ready to storm their family vault at Gringott's as though it is the Bastille and then give their assets away to the hungry and angry masses. It seems to her that her life will once again be decided by another man in her life, this time Jude. Although some money is left to Emilia from her late husband, it appears that her husband intended for their son to take care of her in the case of his passing. Emilia confronts her son to that fact and tells him something the lines of "I hope your desire for a better world for women extends to your dear old mother, Jude, and you will not have me thrown to the streets!"
Ultimately, Emilia remains in the family estate, though she finds it awfully empty without her son. Two years of mourning mean that she can't really host anything and after the period passes, she has been upstaged by other socialites, younger and more popular, who don't have a scandalous son rallying the masses to follow the teachings of Marx, or whatever her son is up to these days.
She focuses on philanthropy as well, which for someone in Jude's circle might be considered unhelpful in bringing social equality, for it does not truly improve the lives of those who need it. In any case, Emilia takes joy in organizing fundraisers to fund the education of the less fortunate at Hogwarts. She also hosts literary salons of sorts, to let ideas of the magical academia flow.
She also decides to take up her study of becoming an animagus more seriously. She has all the time in the world to focus on that. She also finds out that her son has managed the transformation and shyly begings to correspond with him on the subject. After two years of rigorous studying, Emilia is ready to complete her first transformation in the summer of 1893 and she asks her son to be present for it, in case things go sourth.
Personality: Curious. Academic. Recovering people-pleaser. Can be emotionally detached. Caring but mostly to those she's not closely related to. Good listener.
Other: Any other information you want to include.
Sample Roleplay Post: At least a paragraph. Only required for first or canon characters.
Age: 26
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