<bgsound src="musicmkr.wav">

ON BARDS, AND BARDIC CIRCLES


(c) copyright 1996 W.J. Bethancourt III

In the SCA (see note below), in written Fantasy, in science fiction fandom, in modern neo-Paganism ... in too many instances nowadays the word "bard" seems to be bandied about in a rather loose manner that is more along the lines of a Victorian fantasy rather than hard historical fact, being applied indiscriminately to true Bards, trouveres / troubadors / jongleurs (in the SCA), poets, playwrights, actors, filkers, retread folkies, alternative rockers ... 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....

The following is a very general look at Bards. It is not meant to be the Last Word on the subject at all.

(note: the SCA is an historical re-creation and re-enactment group. While they are a fun group of people to play with, we are not affilliated with them. Click here for more information on the SCA)

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 "skald." They were also found in Anglo-Saxon England, and in many other cultures.

In Ireland, 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.

The same, apparently, applied to Scotland, where the Harp was eventually superseded by the fiddle.

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.

So what is a real Bard? In the Celtic cultures, the Bard/Filidh/Ollave was pretty much 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.

So, how can we apply this to a modern, real context? A true Bard must know the following: music (and the playing of an appropriate instrument, preferably Harp), poetry (original, and other people's), song (original and other people's), (within the SCA the History, Law and Custom of his/her Kingdom and of the SCA) as much knowledge of mundane paleo-Pagan and medieval history, Law, and custom as they can possibly learn, at least HP level knowledge of at least three major Trads in modern neo-Paganism (or the equivalent in his or her Judeo/Christian/Islamic sect) and at least a very basic knowledge of linguistics and 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.

They must also have other, more esoteric knowledge, and capabilities, relating to what is talked about in Robert Graves' book, "The White Goddess." If you wish to explore further in this matter, read the above named book. Remember that this book is written more as poetic metaphor than as "hard" scholarship, but if you see thru the Lapwing, you will understand.

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.

Bards seem to be born more than made; you either are, or you are not. This is not to deny a person the opportunity to try for it, but a warning that some may go "further" than others on certain paths.

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," "Baird Ban," or "the White Bard." Another was known as "Derwydd Prydain," and we also now have the "Red Bard," the "Black Bard," the "Green Bard," the "Bard Mithrandir" and the "Dreamsinger Bard." 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.

Each individual Bard will have certain perogatives that they have developed over the years. 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 an existing tune....this is NOT real songwriting, but simply "filk" (as termed in the Science Fiction sub- culture)."

Tell them to sit on it. This is, was, and always has been an accepted thing to do, is quite legitimate, and very authentic. Call it "contrefait" (if it's an SCA context) or ignore the stupids (in a real context) and play away!

Just try to keep the general "sound" as appropriate and in context 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 Rhino Bard" from running everyone off.

I recommend that each person be limited to TWO songs, poems or whatever at a time (at the most!) 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.

There are other ways to set up the sequence of entertainment, and you can find sources for this thru alt.music.filk.

An "operative" Bardic Circle is another kettle of fish entirely, and is set up as sacred space. We hope to publish more on this aspect soon.

SUGGESTED COLLEGE LEVEL COURSES

SO HOW CAN I TELL IF SOMEONE'S A BARD?

If their songs and poetry rivet you to your seat, cut your heart, hypnotize your very soul and cause the hairs on the back of your neck to stand up ...... you are probably hearing a real Bard. But sometimes, only the Lapwing knows for sure.

A DEFINITION

The Illustrated Gaelic-English Dictionary (Alex Maclauren & Sons, 1901) has the following entry under bard:

bárd, -áird, pl. -áird (bárda & bárdan) Bard, rhymer, poet.

" Poetry being, in the opinion of the warlike Celts, the likeliest method of perpetuating their bravery, the bards were held by them in the highest veneration. Princes and warriors did not disdain to claim affinity with them. The Celts, being passionaately fond of poetry, would listen to no instruction, whether from priest or philosopher, unless it were conveyed in rhymes. Hence, the word bárd meant also a priest, philosopher, or teacher of any kind. We often find a bard entrusted with the education of a prince, and about three hundred years ago, a Highland chief had seldom any other instructor. Such was the respect paid to the ancient bards, that, according to Diodorus, the Sicilian, they could put a stop to armies in the heat of battle. After an engagement they raised the song over the deceased, and extolled the heroes who survived.

When a bard appeared in an army, it was either as a herald or ambassador, hence his person and property were sacred in the midst of his enemies and amid their wildest ravages. In earlier times, he never bore arms, and Owen asserts that it was unlawful to unsheathe a weapon in his presence. Among the ancient British, there were, according to Jones, three orders of bards - the Privardd or chief bard; the Poswardd, who taught what was set forth by the privardd; and the Arwyddwardd, the ensign bard or herald-at-arms, who employed himself in genealogy, and in blazoning the arms of princes and nobles, as well as alerting them to theier dignity or deserts. Owen observes that their dress was sky-blue, and emblem of peace.

Among the Irish Celts, the bards enjoyed many extraordinary privileges. The chief bard was called Filidh, or Ollamh ri dán, a graduate or doctor in poetry, and had thirty inferior bards as attendants, whilst a bard of the second order had fifteen. The Gael of Scotland was not behind his brothers Celts in his veneration for the bards, for they had lands bestowed on them, which became hereditary in their families. A Highland chief retained two bards, who, like those of the Irish, had their retinue of disciples; and though the office did by no means procure the same deep respect as in times of old, yet it was always filled to the utmost..."