Wednesday, March 7, 2018

Maiwen


For Maiwen Skrautibroka upon being placed on vigil for the Order of the Laurel
By Maister Colyne Stewart, March AS 53 (2018)

Lo, praise we power / of people-kings
Of spear-armed Danes / in days long sped
Yet power shows / in strength of word
And bone-led cord / and battened cloth
Oft Maiwen worked / as Welanduz
Her anvil lace / her ‘ammer thread
Each stitch a blow / each bolt an ingot
Her smithy adorned / with swords of horn
With rippers of cloth / and coveted
Pins, spools and bob/bins, scissors, shears
Of Frijjō fond / her fashion fierce
As Skrautibrok/a she’s known
 Her trews a treas/ure telling much
Now Kyng and Cwene / she comes before
So hailed as Hlaef/dige her now call
Of famed Maiwen / far flies her boast
A scion of Val / in Scadian lands

This poem is written in the Old English style to match Maiwen’s original 7th century Anglo-Saxon persona. Anglo-Saxon versification were written in what are known as Siever’s Types, with different types of lines based on where the stressed and unstressed syllables lied. For this poem I used what is called the B-line, which contains four syllables, with the stress on the second and fourth syllables. Each line in the poem is divided by a caesura (a pause, denoted by a slash). The poems were alliterative, with the third stress alliterating with the first and/or second stresses. (All vowels and dipthongs alliterated.) These poems made common use of synonyms, compound words, variation (referring to the same thing by different names) and, to a lesser degree, kennings. Sometimes Anglo-Saxon poets would “borrow” word patterns or even whole lines from other poets, so I have quoted and paraphrased Beowulf in the opening and closing lines.

A foot-noted version of the poem is below with the alliteration marked in bold.

Lo, praise we power / of people-kings
Of spear-armed Danes / in days long sped[1]
Yet power shows / in strength of word
And bone-led[2] cord / and battened cloth
Oft Maiwen worked / as Welanduz[3]
Her anvil lace / her ‘ammer thread
Each stitch a blow / each bolt an ingot
Her smithy adorned / with swords of horn[4]
With rippers of cloth / and coveted
Pins, spools and bob/bins, scissors, shears
Of Frijjō[5] fond / her fashion fierce
As Skrautibrok/a she’s known
 Her trews a treas/ure[6] telling much
Now Kyng and Cwene / she comes before[7]
So hailed as Hlaef/dige[8] her now call
Of famed Maiwen / far flies her boast
A scion of Val[9] / in Scadian lands[10]



[1] These two lines are translations of lines 1 and 2 of Beowolf.
[2] A needle.
[3] A mythical smith.
[4] More needles.
[5] Goddess of love who was also associated with weaving.
[6] Maiwen’s byname of Skrautibroka literally means “fancy pants”
[7] Maiwen is to elevated to the Order of the Laurel at Kingdom A&S AS 53 (March 2018).
[8] An Anglo-Saxon title used in the SCA to refer to (among other things) a Mistress of the Order of the Laurel.
[9] Maiwen is a protégé of Master Valizan.
[10] The last two lines are edited translations of lines 18 and 19 of Beowolf: “Famed was this Beowulf: far flew the boast of him / son of Scyld, in the Scandian lands.”

Tuesday, March 6, 2018

Gazel for Shahid al-Hasan


By Maister Colyne Stewart, March AS 53 (2018)

Forth came the proud hare from a desert of snow
In fame and good fortune his legend to grow
Bound to a wolf-prince by cords woven bright red
Fierce as the badger and as fleet as the doe
With pole he commanded in far off An Tir
As vassal to baron he forded war’s flow
Now pearl-rich himself he holds land of the north
Stood peik for the queen for her honour to show
Adorned with the crescent called forward to kneel
His boots tread the flagstones, he dropped to his toe
As Sultan proclaimed him his might and his worth
And told all assembled what honour he’d owe
A faris, he called him, a lord of the horse
And girt him with leather, the white of the snow.


Background Information

According to Bachvarova, a gazel was an improvised song based on earlier works with a singer using an existing quatrain as a basis for their improvisation. Though other cultures (such as the Greeks) used the term interchangeably for lament poetry (the amané or amanés sometimes also being called gazel), to the Ottomans the form was used to explore love (both romantic and spiritual). Gazels were sometimes improvised during long, highly structured songs that would display the singer’s knowledge of the makamlar (or modes of Ottoman music).

According to Bradley, gazels (or qazels) in Iran featured a rhyming couplet, followed by couplets whose first line was unrhymed, and whose second line rhymed with those of the first couplet. There were at least seven couplets. Each couplet usually put forth separate images that were unified by the idea expressed in the first couplet.

The gazels I looked at from the sixteenth century (though translated into English) seemed to follow the rhyme scheme laid out by Bradley, though they claimed to be from the Ottoman Empire and not Iran. It is possible that the quatrains the poets used in my examples just happened to rhyme AABA though I cannot corroborate that at this time.

Three examples of gazel are below (all from Horne):

My pain for thee balm in my sight resembles
Thy face's beam the clear moonlight resembles.
Thy black hair spread across they cheeks, the roses
O Liege, the garden's basil quite resembles.
Beside thy lip oped wide its mouth, the rosebud;
For shame it blushed, it blood outright resembles.
Thy mouth, a casket fair of pearls and rubies,
Thy teeth, pearls, thy lip coral bright resembles.
Their diver I, each morning and each even;
My weeping, Liege, the ocean's might resembles.
Lest he seduce thee, this my dread and terror,
That rival who Iblis in spite resembles.
Around the taper bright, thy cheek, Muhibbi
Turns and the moth in his sad plight resembles.
 ---Sultan Suleiman the Magnificent (r. 1520-1566)

If 'tis state thou seekest like the world-adorning sun's array,
Lowly e'en as water rub thy face in earth's dust every day.
Fair to see, but short enduring is this picture bright, the world;
'Tis a proverb: Fleeting like the realm of dreams is earth's display.
Through the needle of its eyelash never hath the heart's thread past;
Like unto the Lord Messiah bide I half-road on the way.
Athlete of the Universe through self-reliance grows the Heart,
With the ball, the Sphere---Time, Fortune---like an apple doth it play.
Mukhlisi, thy frame was formed from but one drop, yet, wonder great!
When thou verses sing'st, thy spirit like the ocean swells, they say.
 ---Prince Mustafa (1515-1553)

Ta'en my sense and soul have those thy Leyli locks, thy glance's spell,
Me, their Mejnun, 'midst of love's wild dreary desert they impel,
Since mine eyes have seen the beauty of the Joseph of thy grace,
Sense and heart have fall'n and lingered in thy chin's sweet dimple-well.
Heart and soul of mine are broken through my passion for thy lips;
From the hand of patience struck they honor's glass, to earth
The mirage, thy lips, O sweetheart, that doth like to water show;
For, through longing, making thirsty, vainly they my life dispel.
Since Selimi hath the pearls, thy teeth, been praising, sense and heart
Have his head and soul abandoned, plunging 'neath love's ocean-swell.
---Sultan Selim II (r. 1566-1574).

As you can see, some of these gazels have less than seven couplets, which would seem to contradict Bradley. The first gazel has lines of 11 beats, while the following two both have lines of 15. You will notice that in the first example each A line ends with the same word, not just a rhyme.

I have, so far, not been able to find much information on the form, and it would appear that what little information exists is not consistent. I therefore decided to base my poem off of Bradley’s description (since it seemed to fit my exemplars best) and use lines of 11 beats.

Below is a footnoted version of the poem:

Forth came the proud hare[1] from a desert of snow[2]
In fame and good fortune his legend to grow
Bound to wolf-prince[3] by blood-cords woven bright red[4]
Fierce as the badger and as fleet as the doe
With pole he commanded in far off An Tir[5]
As vassal to baron[6] he forded war’s flow
Now pearl-rich[7] himself he holds land of the north
Stood peik[8] for the queen for her honour to show
Adorned with the crescent[9] called forward to kneel
His boots tread the flagstones, he dropped to his toe
As Sultan proclaimed him his might and his worth
And told all assembled what honour he’d owe
A faris[10], he called him, a lord of the horse
And girt him with leather, the white of the snow[11].

Sources

Anon. “Ottoman Turks Poetry.” Ottoman Souvenir. http://www.ottomansouvenir.com/General/Turkish_Poetry.htm Accessed online on March 6, 2018.

Bachvarova, Mary R., Dorota Dutsch and Ann Suter, eds. The Fall of Cities in the Mediterranean: Commemoration in Literature, Folk-song and Liturgy. Cambridge: Cambridge University Press, 2016. pp. 258-259.

Bradley, D. L. Farsi for English Speakers. United States: Lulu.com, 2014. pp. 242-243.

Horne, Charles F. ed., The Sacred Books and Early Literature of the East, Vol. VI: Medieval Arabia. New York: Parke, Austin, & Lipscomb, 1917.  pp. 259-325. Available online at https://archive.org/details/sacredbooksearly06hornuoft

Parfatt, David. Turkish Makamlar. http://oudipedia.info/makamlar.html Accessed online on March 6, 2018.



[1] Shahid is from the Barony of Skraeling Althing, which is symbolized by the hare.
[2] I tried to call up images of where Shahid’s persona would have dwelled by comparing the snow of Ontario to a desert.
[3] His Highness Baldric Leeman of NewCastle Emlyn
[4] Shahid’s squire’s belt.
[5] Shahid was once polearm commander for the Tree House Armoured Combat unit in An Tir.
[6] Shahid was once man-at-arms to HE Ming Lum Pee of An Tir.
[7] Shahid is now a baron himself (Baron of Skraeling Althing). This is a reference to the pearls on his coronet.
[8] A member of Suleiman the Magnificent’ halberdier bodyguards, referencing the fact that Shahid once stood as huscarl to Queen Rylan.
[9] Shahid’s heraldry contains three crescents.
[10] Meaning horseman in Arabic, a title used in the SCA to refer to knights with Arabic personas.
[11] At Winter War AS 53, Shahid was put on vigil for the Order of the Chivalry.