Sir Dante Lizza da Benevento

Sir DanteI chose a Terza Rima for Sir Dante, invented by the 13th century Italian poet of the same name for his epic poem, The Divine Comedy.

Terza Rima is composed of tercets woven into a rhyme scheme that requires the end-word of the second line in one tercet to supply the rhyme for the first and third lines in the following tercet. Thus, the rhyme scheme:

a b a
b c b
c d c
d e d

continues through to the final stanza or line.

Terza rima is typically written in an iambic line, and in English, most often in iambic pentameter.

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Sir Dante Lizza da Benevento
fallen in Spring Crown Tourney, A.S. XLII

(terza rima)

Atop the rolling hills Her finest came
To place the wreath of roses on Her hair
And share with Her the triumph of the game.

For most, the sun’s warm rays would burn and glare
But under mighty oaks this warrior stood
Each gallant blow a victory for Her Heir.

He met the list with all the might he could
Until another son would have his way
And bring the tourney’s end to, as it should.

For all who saw this tournament display
There was no nobler knight than he who fell
And victory was Hers upon this day.

— THL Beathog nic Dhonnchaidh

. . . a 14th century bard who can often be seen traveling far from her home in the Highlands with her lord husband and muse.  If a good tale crosses her path, she will sing a song about it, pull out its hair and spin it, or throw it in a pot and cook it up.

Sir Gamyl of Mottrum

GamelA sonnet shows two related but differing things to the reader, in order to communicate something, told in iambic pentameter.  There are different kinds of sonnets.  In this Petrarchan Sonnet, the first eight lines give details of the battle as seen by bystanders; the last six lines offer a glimpse into the heart of the consort.

The Petrarchan Sonnet is divided into two sections by two different groups of rhyming sounds.  The change from one rhyme group to another signifies a change in subject matter.

The first eight lines is called the octave and rhymes:

a b b a a b b a

The remaining six lines is called the sestet and can have either two or three rhyming sounds, arranged in a variety of ways; in my sonnet:

c d e c d e

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Sir Gamyl of Mottrum
fallen in Fall Crown Tourney, A.S. XLII

(Petrarchan Sonnet)

The lion took the field to meet his foe;
Both wolf and wyvern fell against him there
Before another knight would feel despair.
And when this day had ended, all would know.
Two lions stood at ready, armed to go
Until one would become Ithuna’s heir.
The hammer fell; defeat was in the air;
For python was to strike the final blow.

These contests, on this day, did best impart
The glory lauded from a lover’s eyes
On to the field of valor where he lay.
His victory, she knew within her heart.
The battle lost, but chivalry the prize;
To fall, then rise with honor on this day.

–THL Beathog nic Dhonnchaidh

. . . is a 14th century bard who can often be seen traveling far from her home in the Highlands with her lord husband and muse.  If a good tale crosses her path, she will sing a song about it, pull out its hair and spin it, or throw it in a pot and cook it up.

Vicountess Krysta MacIntyre

Krysta

And there was Brown, upside down
Lappin’ up the whiskey on the floor
Booze Booze the firemen cried
as they came knockin’ at the door
Don’t let them in till it’s all mopped up
Somebody shouted “McIntyre”
And we all got blue blind
paralytic drunk
When the Old Dun Cow caught fire

Irish verse, yes.  Irish drinking song, no.

Deibhidhe (jay-vée) and its variations are ancient Irish Verse Forms that carry a deibhidhe or light rhyme, meaning that each rhymed couplet rhymes a stressed end syllable with an unstressed end syllable.  As with most ancient Irish forms, the Deibhidhes are written with cywddydd (harmony of sound) and dunadh (ending the poem with the same word, phrase or line with which the poem began).

A Deibhidhe is:

  1. written in any number of quatrains, each line has 7 syllables;
  2. composed with light rhyming in couplets, rhyming a stressed end syllable with an unstressed end syllable;
  3. alliterated, often alliteration appears between two words in each line;
  4. written with the final word of L4 alliterating with the preceding stressed word;
  5. composed to include at least two cross-rhymes between L3 and L4. Rhyme scheme aabb ccdd etc.

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Vicountess Krysta MacIntyre
fallen in Spring Crown Tourney, A.S. XLI

(Irish deibhidhe)

Herald called her to take arms
This Lady of Lindesfarne
But she fell to the first knight
Well met in this stark sunlight.

Fresh wounds from the lion’s best
Helped the bear in his conquest
A few sure blows and she fell
Silence grows, save now deathe knell.

Brave and bold for all to see
Death denied her victory
Tales of valor will be told
And honor hailed by Herald.

–THL Beathog nic Dhonnchaidh

. . . is a 14th century bard who can often be seen traveling far from her home in the Highlands with her lord husband and muse.  If a good tale crosses her path, she will sing a song about it, pull out its hair and spin it, or throw it in a pot and cook it up.

Sir Sven Gunther Alcon

Sven Gunther AlconI learned, early on, that not all my fighter poems would be born of inspiration.  How do I write a fighter poem for a fighter that 1) I did not see fight, 2) I do not know, and 3) has no SCA persona to fall back on?  On a whim, I decided to try my hand at a conachlonn, a simple Irish chain verse.

The conachlonn is:

  1. written in any number of lines;
  2. syllabic at the poet’s discretion, often 8 or 9 syllable lines;
  3. assonant chained rhymed, meaning the vowel sound of the last syllable of the line is repeated at the beginning of the next line;
  4. written with dunadh, the beginning syllable ends the poem.

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Sir Sven Gunther Alcon
fallen in Spring Crown Tourney, A.S. XL

(conachlonn)

Fair the day became and hot the sun
One rose a promise from a champion’s hand
Planned victories made sweet as three lay dead
Bled from them a chance to rule this land.
Grand the day became and fierce the sun
One English Duke has proved the stronger foe
Though Alcon gave the pithon’s Knight his best
Less was his skill upon the final blow.
Know now the day of blinding sun
One last defeat under the violent glare
Where sword and shield lay at his side
Denied now a victory for his lady fair.

— THL Beathog nic Dhonnchaidh

. . . is a 14th century bard who can often be seen traveling far from her home in the Highlands with her lord husband and muse. If a good tale crosses her path, she will sing a song about it, pull out its hair and spin it, or throw it in a pot and cook it up.

Lord Andrew Baird

AndrewbairdThis was the perfect opportunity to try my hand at a Scottish stanza!

Also known as the Burns stanza, the Standard Habbie, or the Six Line Stave, the Scottish stanza is a tail rhyme stanza, meaning that the last line of the stanza is short and rhymes with another short line within the stanza.    The Burns stanza was made popular by the 18th century Scot poet, Robert Burns, but was previously used by another Scot, Habbie Simpson in the early 1600s. The form could also be categorized as a variation of the 16th century Occitan form Rime Couée.

The Scottish stanza is:

  1. stanzaic, written in any number of sixains;
  2. metered, the standard meter of Scottish poetry is tetrameter. This stanza is most often written with L1, L2, L3, L5 in iambic tetrameter and L4 and L6 in iambic dimeter. Some sources indicated the form to be syllabic, with the long lines being between 8 and 9 syllables and the short lines between 4 and 5 syllables;
  3. rhymed, rhyme scheme aaabab cccdcd etc.

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Lord Andrew Baird
fallen in Fall Crown Tourney, A.S. XLI

(Scottish stanza)

From the lowland warriors came,
Their dreams of victory the same,
That tourney’s end would carry fame
For combat’s deed.
And Herald’s voice would call their name
As al-Caid.

Lord Andrew took the field in stride,
Fa’izah stood and watched with pride,
But victory would be on the side
Of his first foe.
Lament this victory denied
From eagle’s blow.

Again he rose to face the fight,
To honor Her was his delight,
But fate bestowed the second knight
With victory sweet.
Struck down by the lion’s might
His was defeat.

–THL Beathog nic Dhonnchaidh

. . . is a 14th century bard who can often be seen traveling far from her home in the Highlands with her lord husband and muse.  If a good tale crosses her path, she will sing a song about it, pull out its hair and spin it, or throw it in a pot and cook it up.

Richard Clerke of Rowanwood

I have written songs nearly all my life.  But, when asked to participate with the Circle of Bards of Caid and write my first fighter poem, I was worried.  Good words can be made into great words with the right melody to back them up, but poetry — my words alone — that was scary!

My first assignment was to be a poem for a friend of mine, Richard Clerke.  I dutifully followed him around the day of Crown Tourney, hoping for inspiration to find me.  Finally!  In combat with his own knight, the squire takes Duke John’s legs and the (momentary) visual was the knight kneeling before his own squire on the field.  Yes, mere seconds later, the squire was defeated, and lay at his master’s feet.  But, the brief image was enough to inspire my pen.

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Richard Clerke of Rowanwood
fallen in Fall Crown Tourney, A.S. XXXVII

(a rondel)

The rowan flower bends her head
And leaves her champion to his sleep.
She cradles pome in hands stained red
In shadow of the great oak’s keep.

Love’s kiss, now but a memory sweet
Upon the lips of the rose he wed,
The rowan flower bends her head
And leaves her champion to his sleep.

Two foes, two fell, both now lay dead.
The Welsh Duke taken off his feet
To kneel before her lover’s bed.
Three ladies stand alone to weep.
The rowan flower bends her head
And leaves her champion to his sleep.

 – Baintighearna Beathog nic Dhonnchaidh

. . . a 14th century bard who can often be seen traveling far from her home in the Highlands with her lord husband and muse.

A celebration comes full circle

With yet another holiday season (Easter, for my family) upon us, I’ve been giving some thought about what celebrations, if any, were celebrated, by my people, in the Scottish Highlands during the 14th century.  First obvious question is, Is Beathog a Christian?  A pagan?  What rituals or observances would she participate in?

My first (albeit uneducated) guess would be that Beathog might have been a Christian (and perhaps only in later life), but I believe those living in the rural Highland areas (and, therefore, Beathog) held on to many pagan practices, regardless of any conversions that may or may not have taken place.

I just read an interesting book which discusses the ancient Picts and the heavy influences left by them in much of Scotland.  The author, who is attempting to make an historically-based claim to the modern practice of PectiWita, describes the religion of early Scotland (before the coming of Christianity) as Druidism, “a form of sun-worship peculiar to the Celtic peoples…

… the conversion to Christianity (in Scotland) was a slow and very drawn-out process.  By the middle of the seventeenth century the conversion was complete only in so far as it applied to the townspeople and upper classes.  In the country, it made little impression on the minds of the peasantry, who continued to adhere to the old beliefs to which they were accustomed.”

Beathog, then, in the 14th century, would necessarily still be influenced by Druid practices, I would guess.  This author describes this belief system in Scotland to be a precursor, if you will, of modern-day conservationists.  His belief is that the Highlanders were individuals that tied-in their lives with the passing seasons and probably used herbs to heal or for other magickal purposes, and who were not concerned with more ceremonial religious practices until a much later time.

Hmm.  Beathog as a tree hugger.  I like that. 🙂

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My family has been suffering, a bit, from an “organized religion hangover” for several years, so much so that several of my daughters (unnamed) have resisted the idea of getting together for a traditional Easter celebration.  Okay.  So, this year, we are celebrating in a little different way, embracing a few ideas from a somewhat earlier tradition.

Easter traditions, I understand, have their origins in earlier Pagan traditions.  The name, “Ostara” is derived from Eostre, the Goddess of Spring, and Ostara is a celebration of the Vernal Equinox (the first day of Spring).  Ostara celebrates the balance of light and dark and marked the time for sowing new crops in the northern Saxon countries.  Many creatures gave birth at this time, so symbols of fertility, such as eggs, were traditionally eaten at this time.  The rabbit, chicks, eggs and the equilateral cross are symbols that were borrowed from Pagan tradition by early church leaders.

So, this year, my family is celebrating Spring!  We will have a great day, celebrating our family (and, most definitely, red wine and chocolate).  I think I may also hug a tree.  And I think I will be just a little closer to Beathog this year.  🙂

And so it begins…

SCA-Beathog went to war.  At the request of her king, Edric V, she followed His armies onto the lands of the Kingdom of Atenveldt, where Caid would lend support to Her allies there, both in and out of combat.  A non-fighter, SCA-Beathog, and others of her household, support both Crown and Kingdom by entertaining the masses with both story and song (a kind of SCA USO Show, if you will), and often play the role as bard, carrying news throughout the Known World.

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That’s my SCA story, so far, at least.  But, how might my Beathog persona  fit into this scenario, I wonder?  How might she be comfortable taking such a trip?

I spent a lot of time packing my car and trailer, during the days before the war, as I always do.  I began to wonder just how much of the stuff I take with me, each and every war, would be a comfort to Beathog on such a journey, and how much of the stuff would be strange to her or would be, jarringly, of another age.   I had originally planned to take photos of the different areas of my camp, to examine the details, later.   The inclement weather made this exercise difficult, but the harsh weather, in itself, offered quite another very interesting perspective for me.  The endless rain, the subsequent muddy roads, and the bitter cold were certainly a common occurance in 14th century Scotland.   I think, in the area of persona studies, this would be called the immersion method of study. 🙂

I did manage to make several observations, which I find somewhat helpful.  I list the following items to be those that help me to feel like Beathog, for whatever reason.  Hey, if I can feel like Beathog, I can become her.

1.  my spurtle – it’s a stick that’s intended for stirring oats, brought from Scotland, and always kept, near at hand, in my camp kitchen

2.  my 14th century drop spindle & several varieties of Yorkshire wool, purchased there

3.  a sheepskin brought, by my parents, from Scotland – the ONLY thing I found to be efffective in  keeping my seat warm!

4.  my hood & liripipe, in Donnachie red wool – I hardly feel like Beathog at all, without this item!

5.  rain, bitter cold & MUD – This was annoying, but manageable, with leather shoes, woolen socks (my shoes were muddy, certainly, but my feet were always warm and dry} and hat (yes, even while sleeping!), layers of clothing in linen and wool.  It really is a great thrill to find out your garb is much, much more than a costume!

6. chamber pot – yes, yes, yes!!

7.  period menus – For the most part, we do an excellent job in eating foods available in the SCA period and, when I am cooking, I rarely use foods that were not available in the 14th century.  I think the most important part of this, for me, is that the foods I eat at war are different than the foods I eat at home.  I eat sausage at home, but the sausages Domhnall makes for war have period seasoning and thus a different taste than the varieties we eat at home.  I use so much oats and leeks, as well, that I get the attention of the grocery clerks when we shop for war.

8.  camp furnishings – While not a requirement in our camp, we do have many period pavilions.  My personal pavilion may not be a 14th century style, but it is quite comfortable and I accept it, gratefully, over a modern tent alternative.  We have replaced (most) of our plastic tables with wooden ones (using one plastic table, still, for dishwashing) and we are on our way to having (only) wooden benches for dining.  We are (currently) working on replacing all of our chairs with wooden ones.  I love, love my new chair, and do not care that it is more appropriate for SCA-Beathog than my 14th century persona.  It is NOT my former, 10-year old director’s chair.  Yay!

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Getting rid of ALL of our modern chairs is our priority, certainly, as they would be quite jarring to Beathog (some of them are quite jarring to everyone, SCA or not).  While we do work very hard (at my insistence, I admit) at enjoying a period menu, I think Beathog would certainly be confused by much of the other items, found in our camp, at any given war.  I have been trying to encourage everyone to use a critical eye and to keep the much-necessary plastic containers out of site.  We seem to be getting quite lazy about our serving dishes, for example, and serving out of plastic storage containers and bags, rather than using all of those beautiful dishes we carry around with us.

We are doing so much better at occupying ourselves with period activities, and limiting conversations about modern subjects, such as television, and the like, but many of us still have a long way to go in this area.

An SCA friend of mine has a brilliant insight about this, I think.  She says some people never leave the realm of Modern Life – they have been raised in that world and do not feel comfortable leaving it.  I think she’s absolutely correct, and that’s why I’m trying to encourage all of my household to get to know their personas, and to feel comfortable about walking in those shoes for awhile……… Yes, even in the mud!

Narrowing the search

“So, as I see it, the challenge is the one we were given in the very beginning – to create a persona of a person who “could have lived” in the Middle Ages. And the challenges carried by that phrase are as minimal or enormous as we make them.”

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I suffer from the tendency to try and go in many directions at once, and often trip myself in the process.  My husband reminded me of a simple fact:  I am trying to develop a persona of someone who could have lived in the Middle Ages, not someone who lived during the entire Middle Ages!  I think this is where many of us go wrong.  If something was known “in period”, and we like it, we embrace it as our own.  This is not necessarily harmful, if you don’t mind the train wreck that happens with some people’s garb choices when they do that.  We’ve all seen it, and most of us have done it on occasion, mixing several centuries and cultures (and using a bit of creative license, for good measure) into one smart outfit!  Again, it harms no one and is not against any rules (that we, thankfully, don’t have).  But, it is a bit hard on the persona. 🙂

I recently had a very enlightening experience.  In an attempt to get to know Beathog a bit more, I sought to learn a bit more history from her time period.  To begin, I went to one of those On This Day websites, to copy recorded events that happened in Scotland during my century-of-interest.  I included items that occurred earlier, especially those that may have had a direct relationship to the Wars of Independence to come, or that might somehow influence what Beathog may think or know.

What should have been a very simple exercise turned out to be a rather hard exercise in self discipline!  I kept coming across entries that I was very interested in, and I had to (strongly) fight the urge to include items that were way too far in Beathog’s future for her to have any use of them!  I soon realized that Beathog (presently) has a very strong connection to Scotland (generally).  I feel very connected to castles that I have visited, and I was being seduced by wanting to include events that occurred in places I have been, as well.  Beathog may live to be a very old woman, but she could never have known, or heard of, Mary Queen of Scots!

So, the first step for becoming Beathog is to narrow the search.  The Battle of Bannockburn has to be an important turning point in her life.  I think, as she shares this experience with Domhnall, it makes sense for that to begin their story together somehow.  And, as Joe and Rebecca’s story began as very young teenagers, I think it feels right that Beathog and Domhnall’s story begins there, too.  Being a teenager during the Wars for Independence helps Beathog in several ways.  First, she can have lived in the Highlands as a young girl (and known a certain lifestyle), but have opportunities, in the years to follow, to live in Edinburgh or some castle or another (and known a different lifestyle).  I had to develop a simple persona story to use when doing private demos with Baroness Aurelia, that included my life in a castle.  I chose Lochlevin Castle, because I had been there and because I knew Robert I (Robert the Bruce) had stayed there several times.  The castle had also been used to store valuables and part of the Royal Exchequer.  It made sense to me that Beathog could have traveled there, as well, in Domhnall’s company, and as a part of the entourage.

I think that I have been embracing Beathog as a woman from Scotland, rather than from 14th century Scotland.  Part of that is, certainly, because I have so little information relevant to this time period in Scotland.  I will probably have to make some decisions in some areas, and determine when my Scottish persona is more important that my 14th century one, and vice-versa.

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I know several people who have decided their persona is much younger than their actual age.  While it may be nice to pretend to be younger, I don’t understand this rationale.  I’m not interested in putting on my persona face and playing it, like I would play a role on stage.  I am interested in getting up on a Saturday morning, grabbing my basket, putting on my coif and becoming Beathog for the day.  I cannot pretend that I have not lived for 55 years, and I would not want to.  I have had many wonderful experiences and have grown wise as a result of these numerous life experiences.  I like to think the same has happened to Beathog.  As a girl, she witnessed her people struggle to achieve independence.  She has vivid memories of living with her family in the Scottish Highlands and has experienced sadness as some of them were lost in the years to follow.  She has lived many years with the man she loves and has traveled and learned many new ways.  She is now living in this beautiful kingdom of Caid, where she has seen many new and wonderful things.  I cannot imagine why I would want to limit Beathog in such a way that robbing her of all those years might do.

Who’s that pretty girl in the mirror there?

We are often asked, in the SCA, the following question: What do you want to be in the SCA?

Do you want to be King? A knight? Pelican? Maybe a Laurel?

Are you a Viking?

Maybe you are a Seneschal? Or an Arts and Sciences Officer?

And then, there’s my favorite: Perhaps you are a bard, if there can even BE such a thing!?

I have recently come to realize that I am guilty, guilty, guilty of sitting around at tourneys and doing what MOST of us do… gossiping or carrying on mundane conversations about things that have no place at an SCA tourney, such as television programs, freeway traffic, or (the horror!) penises… Yes, we have recently sunk to an all-time low!

Why?!? Because we don’t know how to do anything differently. We have chosen names we like, and most of us know from whence we came. A few of us make at least an attempt at dressing in clothing that may have been worn in our chosen time and place. But we have not given much more thought, than that, to a persona.

I think the key to developing a persona is, not knowing WHAT you are, but, rather, WHO you are. I intend to compile a list of questions to answer, to find out, a bit better, who Beathog is.

I could ask, simply, “Is Beathog an archer?” But, I learn so much more if I ask, rather, “Does Beathog have the need to be able to shoot a bow?”

I have some serious challenges ahead of me, because we have so little documentation from my chosen place in time. We cannot KNOW exactly what was worn, only make an educated guess. I admit that I question some of the research done in this area, particularly the implication that the Highland men wore no shoes and were bare-legged! I have been to the Scottish Highlands (and Lowlands), and IT IS DAMN COLD there, even in summer. I have seen the rugged terrain and cannot imagine anyone in their right mind come running down the side of the Ben without shoes! And would Beathog, living in that particular time and place, really chose to mimic her English enemy in adapting their style of dress? How much contact would Beathog actually have had with her neighbors to the south (or the Lowlanders, for that matter)?

There are no published cookbooks from Scotland before the 18th century, that I know of. What would Beathog eat? How was it prepared?

Is Beathog a pagan? A Christian? Can she read or write? Has she ever traveled outside her native homeland (other than to Caid!)?

I am very excited about taking this journey, because I know it will do so much to enrich my SCA experience, which I truly love. Feel free to travel along with me, if you wish. I welcome your comments, as long as you remember that I am learning along the way and may make mistakes. Please do not take any of my guesses or assumptions as fact, or think that I am trying to state them as such! This journey is for Beathog, and Beathog alone.

One thing that creeps me out: I have heard a few people say, “My persona was born in ____ (year) and died in ____(year). WTF?! ! First of all, knowing when you DIE is just creepy! But, if your persona has “died”, I think you might have difficulty in staying within your persona in the SCA… by killing your persona ‘off’, you have made it inaccessible to use. Just a thought…