From:    Ioseph of Locksley 
To:      All 
Subject: On Bards

                     ON BARDS, AND BARDIC CIRCLES: 
                                -Ioseph of Locksley, OL, Pel, &c. 
                             (c) 1989, 1990 W. J. Bethancourt III 
 
        In the SCA, in written Fantasy, in too many instances the word 
"bard" seems to be bandied about in a rather loose manner, being applied 
indiscriminately to true Bards, trouveres, troubadors, jongleurs, poets, 
playwrights, actors...in short, anyone who entertains. 
        I hope to clear up this misconception, though to hope that the usage 
of the word will be corrected may be a forlorn hope.... 
 
                                    * 
 
        Bards are found in Celtic cultures (Ireland, Scotland, Wales, Manx  
and Brittany) and a rough equivalent can be found in Norse culture, too, where 
they were known as "scops." 
        There is no real equivalent to the Celtic Bard in Anglo-Saxon England, 
however. 
        In Ireland and Scotland, the use of the word "Bard" apparently fell  
into some disrepute, as the records we have show that the Bard was simply a  
minor poet, while the "filidh" (seer) or the "ollave" (master poet) occupied  
the former status and functions of the Bard.  
        In Wales, the Bard was not so lucky. There, the traditions ossified, 
and the Bards, after the advent of Christianity, became Court Poets, known as 
"Gogynfeirdd," or "Prydydd," limited in subject matter and form, and with 
rigidly structured rules. 
        The word that corresponds with the irish "filidh," in Welsh, would be 
"derwydd," (oak-seer) the word from which "druid" is derived. 
        The "hedge-Bards" were the ones that carried on the real traditions of 
the Bard. These are the people that gave us the "Cad Goddeu" and the "Hanes  
Taliesin," and who may have passed the "Matter of Britain" on to the French 
troubadors and trouveres, thus giving us Arthur and Camelot. 
        The word "Bard," in Wales, denoted a master-poet. In Ireland it meant 
a poet who was not an Ollave, one who had not taken all the formal training.  
Apparently even the lower-status Irish Bard was on a level with the Welsh Bard 
in knowledge and poetic education, however, and these were what I have termed 
"hedge-bards," above. 
        In the Celtic cultures, the Bard/Filidh/Ollave was inviolate. He could 
travel anywhere, say anything, and perform when and where he pleased. The 
reason for this was, of course, that he was the bearer of news and the carrier 
of messages, and, if he was harmed, then nobody found out what was happening 
over the next hill. In addition, he carried the Custom of the country as 
memorized verses...he could be consulted in cases of Customary (Common) Law. 
He was, therefore, quite a valuble repository of cultural information, news, 
and entertainment. 

        A true Bard must know the following: music (and the playing of a
period instrument, preferably Harp), poetry (original, and other people's), 
song (original and other people's), the History, Law and Custom of his/her 
Kingdom and of the SCA, as much knowledge of mundane medieval history, Law, 
and custom as they can possibly learn, and at least a very basic knowledge of 
linguistics and alphabet/cyphers. Some training in Folklore, and in the art of 
Sociology would help, too. See the list of suggested College courses at the 
end of this article. 
        The Bard should investigate the "Matter of Britain" very thoroughly, 
paying special attention to Sir Gawain, and to Arthur's Queen. Do a little 
reading in the Robin Hood cycle, too, with special attention to the village 
festivals in Britain that mention him. 
        Some Bards are "titled," that is, someone, be it another Bard, or  
whoever, or sometimes (very seldom) the Bard himself, has given them a bardic 
"name" or "title," that serves to identify them. Thusly, I am known as "y 
bardd Gwyn," "Bard Ban," or "the Whyte Bard." Another was known as "Derwydd 
Prydain," while even another has no title at all, and does not want one. Be 
wary of taking such a title yourself. Allow the giving of such to happen on 
its' own, and do NOT take it from a King of any kind! 
        Each individual Bard will have certain perogatives that they have  
developed over the years. I, myself, tend to interrupt a Coronation court at 
any time with a poem, or a song, relating to the event. Other Bards will have 
other perogatives. Don't try to set yourself up with these; let them happen 
naturally. 
 
                     ON MUSIC AND SONGWRITING: 
 
        Every so often, one hears a self-important "scholar" say something  
along the lines of: "Well, you have only written new words, or parodied  the 
words, to a common tune....this is NOT real songwriting, but simply "filk" 
(as termed in the Science Fiction sub-culture) songs." 
        Tell them to sit on it. This is, and was, an accepted thing to do, is 
quite legitimate, and very authentic. 
        Just try to keep the general "sound" as Medieval/Renaissance as  
possible...admittedly a bit difficult when you are stealing ** er ** adapting  
a rock and roll melody, but it CAN be done....and please encourage others to 
do the same. 
 
                        ON BARDIC CIRCLES: 
 
        A Bardic Circle is, simply, a setting for the listeners to entertain 
each other. This can be with poetry, song, and stories. All should  
participate, though it is not necessary for all to contribute to make it a fun 
thing to do. What IS necessary is that the number of things done by each  
person at any one time be limited, to keep the inevitable "stage-hog" from 
monopolizing the evening, and to keep the "Awful No-Talent Stage Hog" from  
running everyone off. 
        I recommend that each person be limited to TWO songs, poems or  
whatever at a time, and then pass on to the next singer. This keeps it  
varigated, and interesting, and gives EVERYONE a chance to contribute. 
        Try to keep discussion to a minimum, but, should it be interesting, 
let it go on for a while, as a break in the music. In any event, try to do 
something different about every hour or so, to allow your listeners to  
stretch, use the bathroom, get refreshments, and gossip for a while. This will 
keep them there longer, and add more fun to the occasion. 
 
                    SUGGESTED COLLEGE LEVEL COURSES 
 
 Basic and Advanced Folklore of the Appalachian and Ozark mountains of the USA 
 Basic and Advanced Folklore of the British Isles 
 Music History (100 and 200 levels) 
 Anything else in the Music curriculum that relates to Medieval music     
 Comparative Religions 
 Basic Sociology (100 and 200 levels at least) (watch out here! This is an 
                  "art," not a "science!") 
 Linguistics 
 Medieval History (100 thru Graduate levels) 
 Medieval Law (100 thru 400 levels) 
 English Writing 
 The Literature of England (Ireland, Wales, Britanny, Scotland etc.) 
 Poetry 
 Fencing or other formal Martial Art 
 Theater 
 And ANYTHING else that might possibly relate and/or help. 
 
        Reading list:
 
   OGHAM: THE POET'S SECRET 
   Sean O Boyle; Gilbert Dalton, Dublin, 1980 
 
   THE ENGLISH AND SCOTTISH POPULAR BALLADS 
   Francis James Child;  (five volumes) Dover, 1965 
 
   THE SINGING TRADITION OF CHILD'S POPULAR BALLADS 
   Bertrand Harris Bronson; Princeton University Press 1976 
 
   THE VIKING BOOK OF FOLK BALLADS OF THE ENGLISH-SPEAKING WORLD 
   Albert B. Friedman; Viking, 1956, 1982 
 
   TRADITIONAL BALLADS: THE COMPLEAT ANACHRONIST #11 
   Tsvia bas Tamara v'Amberview (pseud.); 
   Society for Creative Anachronism, Inc, 1984 
 
   FOLK SONGS OF ENGLAND, IRELAND, SCOTLAND AND WALES 
   William Cole; Cornerstone, 1961, 1969 
 
   FOLKSINGER'S WORDBOOK 
   Fred and Irwin Silber; Oak, 1973 
 
   101 SCOTTISH SONGS 
   Norman Buchan; Collins, 1974 
 
   RISE UP SINGING 
   Peter Blood-Patterson; Sing Out! 1988        
 
   THE TROUBADORS: THE COMPLEAT ANACHRONIST #44 
   Leah di Estera (pseud.) 
   Society for Creative Anachronism, Inc, 1989 
 
   CAIDAN BARDIC CIRCLE SONGBOOK (5 Vols.) 
   Caidan Bardic Consortium, 1988 
 
   THE WHITE GODDESS 
   Robert Graves; Farrar, Straus and Giroux, NY 
   1966 (LCCCN: 48-8257) 
   Not big on scholarship, but perfect for Bardic lore 
 
   THE GOLDEN BOUGH 
   James G. Frazer; Avenel Books, 1981 
   The basic text on myth 
 
   CONTRARYWISE 
   Zohra Greenhalgh, Ace (paperback) April 1989 
   0-441-117112-2 
                                * 
 
Permission is given for this paper to be used in publications of the SCA or 
related groups. If you use it, send a copy of the publication to: 
       Joe Bethancourt - PO Box 35190 - Phoenix, AZ - 85069 

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 * Origin: <Deus ex Machina-BBS Free Atenveldt! 602-439-8070>  (Opus 1:114/29)
