So things kept happening to get in the way of my properly apprenticing to Ollam Lanea (rainstorms, commitments, a pandemic), so when we finally were able to set a firm date, I lost my mind a little and decided to make her a gift for The Occasion. I decided to make her a book. Not any book — a book that contained two of her pieces, two of mine, and some other important items. Since I chose poems that incorporated our languages, I decided they had to be properly glossed. This is literally my third piece of calligraphy ever, my second with a proper pen, and I learned to bookbind over the summer by half-watching a dozen random YouTube videos. And because I knew Lanea would get a kick out of it, instead of documentation, I wrote a library catalog entry. I told you I lost my mind.
The Catalog Entry
Teach Folcadáin Bó Caitlin MS Ripton A.i
Inconsistently dated to both ~800 and 2021 (?)
The Apprentice’s Manuscript
The present volume contains 4 poems and some additional back matter (a short verse and a single sentence). Two poems, On Kings (ff. 2r-8v) and Song of Amergin (ff. 24r-29v) have been glossed by the original scribe. The glossing of On Kings indicates that the scribe was familiar with the language and attempted to keep a poetic translation in the gloss. However, they also excluded words that were the same in both texts, making it difficult to reconstruct the gloss’s original form. Inaccuracies in the glossing of Song of Amergin indicate that the scribe was not familiar with the language; E. Meredith (2021) has suggested that the scribe was attempting to combine two texts with only the vaguest understanding of Celtic languages.
ff. 2r-8v: On Kings
ff. 9r-15r: On Returning Home
ff. 18r-22v: You Call Yourselves Bards?
ff. 24r-29v: Song of Amergin
f. 31r: Gawain and the Green Knight (?) excerpt
f. 32v: Back matter
Decoration: 5 illuminations, of a horse between three lozenges (f. 1r), a bird (f. 16r), a raven on a pall between three Brigid’s crosses (f. 17r), a great black dog (f. 23r), and a golden winged shoe (f. 30r). There are additional small decorations throughout, most significantly a decorated O on f. 18v.
Irish, Old (?)
Materials: Pergamenata, Noodler’s Eel Black, Koh-I-Noor watercolor, FineTec gold and silver.
Dimensions: approximately 90 x 70 mm. No indication of trimming.
Foliation: ff. 32. There is one modern foliation sequence in the manuscript in pencil.
Layout: written in one column of four or eight lines to a page. All four-line pages contain glosses in a different language.
Script: Half-uncial. While the hand has similarities to the Book of Kells, as do some of the illuminations, the number of errors and uneven lines indicate an inexperienced scribe deeply in over their head.
Binding: Rebound in the first quarter of the 21st century by an enthusiastic amateur using green silk thread, cardboard, linen, leather, and PVA glue.
Unknown; bears indicators of both 8th/9th-century Hiberno-Saxon traditions (especially Northumbrian) and 21st-century Nacirema techniques from Piscataway Nation territory.
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.
For a long time I’ve wanted to make reading Gawain and the Green Knight into an annual tradition around the New Year, as the poem itself is placed around the New Year.
However, 2020 was a long year, so I wanted to share it with others. At the beginning of the panic I read the entirety of Beowulf in Old English via impromptu streams on Facebook. This time, for Gawain, I made a long recording in garb (with new appropriate accessories!) and premiered it on New Year’s Eve and New Year Day. The videos are permanently on YouTube, so you can watch the whole playlist here or watch the videos via the embeds below.
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
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.
The prompt for Poeta Atlantiae in 2019 was too good to pass up: choose two poetic forms that are from locations at least 500 miles from each other. I chose the ghazal, from Persian and Arabic traditions, and alliterative verse, from Old English tradition. Kaaren Valravn kindly did last-minute calligraphy of both poems for my entry’s display, for which I am eternally grateful.