When Hakon hábrok was placed on vigil to consider joining the Order of the Chivalry, I joined the Worthies to speak as a member of the populace. I was deeply honored to be asked to deliver this speech, and since Hakon is also a bard, I had to give it in verse. The verse itself is fairly loose Old English alliterative verse; I played with both line-length and alliterative structure to best suit the message.
From Ealawynn Maeru, alias Ela –
Gracious greetings, guests and friends.
Peers do plead their pieces of wisdom,
but I proclaim proudly for the populace.
What should the chivalry show us in deeds?
What weighs more worthy than wielding arms,
swift swords swinging ably,
all adversaries overwhelmed in battle?
No – a knight must be more—
prowess is purely part of the whole.
So what should the chivalry show us in deeds?
Listen, with silent lips and unlocked ears.
Contemplate, consider, and consult counsel;
weigh wisdom and wield caution.
Ignore self-interest; favor insight—
then speak, and lead.
This calling of chivalry is an arduous quest.
Many folk fail this formidable task.
But Hakon hábrok holds these!
Contemplation, counsel, consideration, and discernment:
if these uncommon attributes are the essence of chivalry,
then I call Hákon hábrok “knight.”
Elevate him to that order promptly.
The populace praises it as proper and just.
When I found out that Iselda de Narbonne was going to receive her Laurel, I may have demanded to make her mantle. I don’t know. It’s all a little fuzzy.
Due to life, the timeline on construction got a little tight, so the foundation seams were all machine sewn. However, every single visible stitch was hand-sewn, and the applique and beads were done entirely by hand. The fabric and thread is 100% silk. Every fabric used is a two-tone that shimmers when in motion, some more subtly than others. The pearls are glass Swarovski pearls.
I was asked to say something about the mantle as it was presented to her, but initially all I could think of was “A badass bard deserves a badass mantle, and I hope this makes you cry.” However, inspiration struck two nights beforehand, so I wrote her a poem that I read:
From sweet soil sprouts the laurel,
But limbs and leaves with labor grow
dewy drupes. Devotion and time
Furnished fruits fair to the ear,
Foliate and flourishing, brought forth
Verdant voices in choral concordance.
Now a mantle marks the mastership attained
Proclaims to peers: perceive this Laurel
with seeds of song to sow and nourish.
Amang ic seowede nihtlang ic sticode me foroft.
Æt þære wæfersyne wundormentles, þīn wopdropum ic ahope.
The last two lines, in Old English, translate directly to “While I sewed through the night, I stabbed myself often. At the spectacle of the wonder-mantle, I hope for your tears.” In other words, “I hope it makes you cry.”
Wrote a poem! Did my first calligraphy! Threw in some illumination from the Book of Kells!
I was sick so the poem wasn’t as dramatic as I wanted it to be and the whole thing was late!
To Cuan, king of considerable worth:
Your bard begs you a brief moment
of time, attention, tolerance, and reprieve.
A report of a birthday reached my ears–
so a chronicle I conceive for the King of Atlantia,
a poem of his prowess, praising his might
with words of wisdom to warn and advise,
extolling the integrity of one .viii. times a king.
But unbidden, an illness attacked my form,
muddled my mind and mystified my pen.
Now my reason returns, revived and hale,
But the moment is missed! Mournfully thus
I weakly write a wish, with all goodwill
of a belated birthday from your King’s Bard.
Before Gideon ap Stephen was Laurelled at Ymir 2020, Mistress Rosalind asked me to translate the poem she had written to release Gideon from his apprenticeship into Old English. I happily did so — I love translations and find it a great challenge! Below is the text that I sent her; I also sent her a (very rough) recording for pronunciation. While I usually don’t use ċ (/ch/) or ġ (/j/) in my translations as they are entirely a modern conceit for transcription, I included them here to help indicate the pronunciation differences from c (/k/) and g (/g/) for performance.
Breostsefa = mind or heart, literally “the mind in the breast”
Cyneword-cempa for þære cuþre worulde
Cyneword-cempa = champion of fitting words
Rof for reþnesse in randgebeorh eadmede-folces
Randgebeorh = protection such as that afforded by a shield
Seldlic in feaxe stefn geofon-sidu
Seldlic = rare, strange, wondrous, extraordinary, having unusual good qualities Sid = wide, broad, spacious, and is specifically usually applied to the ocean, world, and universe
þurh wordcræft ond woþcræft þin gewald þu geseþe
Syntax of second half-line is “your prowess you show” wordcræft = the art of speaking and writing woþcræft = the art of poetry or song gewald = power, mastery (I chose it for the latter meaning)
Ure gomenwaþu to-gædere on geongum ond byrum
Syntax of second half-line is “of travels and times”; I chose to make plural because there was presumably more than one Byre has many meanings, but I particularly like the translation of “an event, a favourable time, an opportunity”
Nihtlangum leoþurunum listum ond sceaftum
Syntax of second half-line is “craft and creation” nihtlang = night-long leoþurun = counsel conveyed in verse (I thought this meaning was appropriate!) list = art, skill, cunning, craft, artifice
At some point in the murky past (that is, 2019), Kaaren, Adelaide, and I made a joke about how we’re the three Fates. I am, of course, the spinner Clotho, Adelaide the measurer Lachesis, and Kaaren the inflexible/cutter Atropos. When we discovered that we all had bought (or wanted to buy) the same grey linen, we decided to make Fates-themed garb in our preferred styles (we also managed to be chronological as well!). For a deadline, we set Twelfth Night 2020.
Because I was doing early period English, I felt a little guilty that my garb wouldn’t be as complicated and require as much hard work as Adelaide and Kaaren’s. So I decided to make everything I wore.
In early 2019, Master Eldred Ælfwald requested that Lady Kaaren Valravn create his court baron scroll (scroll information here). In turn, she asked Lord Ishmael Reed to write an original poem and me to translate the poem into Old English. Ishmael wrote the poem in the style of the 14th-century alliterative revival, which I then translated into Old English alliterative verse.
In fall 2019, I wanted to improve my embroidery, so I drew a knotwork design that I decided to fill using a combination of satin stitch and split stitch. While the knotwork has finally been completed, I still have yet to decide what I’m going to sew it on to.
Battle on the Bay 2019 had an Epona-themed challenge—and as a horse lover, I had to enter something. I was on a huge knotwork kick, and I wanted something soothing, so I combined knotwork, a horse-shoe shape, and the Staffordshire Hoard’s “stylized horse” in this scroll blank. Materials are permanent pen and gouache
In the summer of 2019, I went on a small jewellery/beading jag.
Left, top to bottom: necklace that doubles as circlet made of amber on beader’s wire; amber drop earrings; glass bead swag with removable beads (cord is beader’s wire with silver beads); amber and copper bead swag on beader’s wire for Old English garb (with brooches). These are all for wearing with my Old English garb.
Right, left to right: Pearl-and-amber paternoster on silk with silk tassel; green-stone-and-amber paternoster on cotton with cotton tassel; green stone prayer beads on cotton with cotton tassel. The first two paternosters are to wear with my 14th-century garb, while the prayer beads are for my Ottoman garb.