A Lullaby for Niamh

Tune: Edi Beo Thu Hevene Quene

Come, my child, lay down your head
The sun long since has gone to bed
The stars now twinkle in the sky
The time for sleep and dreams is nigh
Dream sweetly as you close your eyes
Of brave deeds done and counsel wise
In the morn will come the day
When once again, you'll rise and play.

At morning to the battle field
I like to carry Daddy's shield
Resplendent in their armor bright
I hope one day to be a knight
With clashing swords they join the fray
To see which army wins the day
Since I'm too young to join a side
I'll cheer them on to show my pride.


Later to the range we go
So I can practice with my bow
Though I am young, my aim is true
And I am good at what I do
The arrows I helped Mom to make
Are straight and strong and do not break
With Mom and Dad, my family
I help protect our Barony.


I teach my friends all kinds of games
Sometimes I give them silly names
Like: "Quiet please, we're hunting squirrels"
Or: "War between the boys and girls"
We like to run and chase and climb
When camping in the Summer time
Finding fun in all we do
(Our parents sometimes join in too).


With setting sun, we gather round
Together making joyous sound
With tales of heroes long before
And fearless deeds done while at war
When we raise voices up to sing
That is my favoritest thing!
Gazing through the fire light
I'll stay awake with all my might.


(c) 2008, Ben and Jessica Tucker {Owen Alun and Flori de Josselin}

The History of the English Language

The History of the English Language

Owen Alun and Brendan O’Corraidhe

In the beginning there was an island off the coast of Europe. It had no name, for the natives had no language, only a collection of grunts and gestures that roughly translated to “Hey!”, “Gimme!”, and “Pardon me, but would you happen to have any woad?” Then the Romans invaded it and called it Britain, because the natives were “blue, nasty, br(u->i)tish and short.”

[This was the start of the importance of u (and its mispronounciation) to the language.]

After building some roads, killing off some of the nasty little blue people and walling up the rest, the Romans left, taking the language instruction manual with them. The British were bored so they invited the barbarians to come over (under Hengist) and “Horsa” ’round a bit. The Angles, Saxons, and Jutes [oh my] brought slightly more refined vocal noises.

All of the vocal sounds of this primitive language were onomatapoedic, being derived from the sounds of battle:

Consonants were were derived from the sounds of weapons striking a foe. (“Sss” and “th” for example are the sounds of a draw cut, “k” is the sound of a solidly landed axe blow, “b”, “d”, are the sounds of a head dropping onto rock and sod respectively, and “gl” is the sound of a body splashing into a bog.

Vowels (which were either gargles in the back of the throat or sharp exhalations) were derived from the sounds the foe himself made when struck.

The barbarians had so much fun that decided to stay for post-revel. The British, finding that they had lost future use of the site, moved into the hills to the west and called themselves Welsh.

The Irish, having heard about language from Patrick, came over to investigate. When they saw the shiny vowels, they pried them loose and took them home. They then raided Wales and stole both their cattle and their vowels, so the poor Welsh had to make do with sheep and consonants. (“Old Ap Ivor hadde a farm, L Y L Y W! And on that farm he hadde somme gees. With a dd dd here and a dd dd there…”) To prevent future raids, the Welsh started calling themselves “Cymry” and gave even longer names to their villages. They figured if no one could pronounce the name of their people or the names of their towns, then no one would visit them. [The success of the tactic is demonstrated still today. How many travel agents have YOU heard suggest a visit to scenic Llyddumlmunnyddthllywddu?]

Meantime, the Irish brought all the shiny new vowels home to Erin. But of course they didn’t know that there was once an instruction manual for them, so they scattered the vowels throughout the language purely as ornaments. Most of the new vowels were not pronounced, and those that were were pronounced differently depending on which kind of consonant they were either preceding or following.

The Danes came over and saw the pretty vowels bedecking all the Irish words. “Ooooh!” they said. They raided Ireland and brought the vowels back home with them. But the Vikings couldn’t keep track of all the Irish rules so they simply pronounced all the vowels “oouuoo.”

In the meantime, the French had invaded Britain, which was populated by descendants of the Germanic Angles, and Saxons, and Jutes [oh my]. After a generation or two, the people were speaking German with a French accent and calling it English.

Then the Danes invaded again, crying “Oouuoo! Oouuoo!,” burning abbeys, and trading with the townspeople. The Britons that the Romans hadn’t killed intermarried with visiting Irish and became Scots.

Against the advice of their travel agents, they descided to visit Wales. (The Scots couldn’t read the signposts that said, “This way to LLyddyllwwyddymmllwylldd,” but they could smell sheep a league away.) The Scots took the sheep home with them and made some of them into haggis. What they made with the others we won’t say, but Scots are known to this day for having hairy legs.

The former Welsh, being totally bereft, moved down out of the hills and into London. Because they were the only people in the Islands who played flutes instead of bagpipes, they were called Tooters. This made them very popular.

In short order, Henry Tooter got elected King and begin popularizing ornate, unflattering clothing. Soon, everybody was wearing ornate, unflattering clothing, playing the flute, speaking German with a French accent, pronouncing all their vowels “oouuoo” (which was fairly easy given the French accent), and making lots of money in the wool trade.

Because they were rich, people smiled more (remember, at this time, “Beowulf” and “Canterbury Tales” were the only tabloids, and gave generally favorable reviews even to Danes). And since it is next to impossible to keep your vowels in the back of your throat (even if you do speak German with a French accent) while smiling and saying “oouuoo” (try it, you’ll see what I mean), the Great Vowel Shift came about and transformed the English language.

The very richest had their vowels shifted right out in front of their teeth. They settled in Manchester and later in Boston. There were a few poor souls who, cut off from the economic prosperity of the wool trade, continued to swallow their vowels. They wandered the countryside in misery and despair until they came to the docks of London, where their dialect devolved into the incomprehensible language known as Cockney.

Later, it was taken overseas and further brutalized by merging it with Dutch and Italian to create Brooklynese.

That’s what happened, you can check for yourself. But I advise you to just take our word for it.

Copyright (c) 1994 Corrie Bergeron and Ben Tucker all rights reserved Permissions: This may be reproduced in SCA newsletters for non- commercial purposes only. (i.e., If you make any money off of it, send us a cut.)

[Owen Alun is a wandering Cornish poet and harper whose travels have taken him to EVERY group in the Northshield. Ben Tucker helps keep the St. Paul School District moving into the Information Age. (He recently wired his elementary school into the Internet so the kids can get on-line!) Brendan O Corraidhe is a wandering Irish singer and storyteller. Corrie Bergeron is a project manager and designer for the company that makes PLATO educational software.]

Brendan, who cowrote this, also writes about bardic at his blog https://bardlog.wordpress.com

Lesson One

My Laurel, Sieglinde Syr, gave me the advice that everyone has an inner five year old.

Five year olds have thought about a lot of things, and can do just about anything with the right encouragement.

Authenticity, patience, clear expectations, and care together lead towards trust. Trust most often brings forth joy.

Give yourself permission to share that kind of love and trust with and in yourself, too.

For the Midrealm:  A War Song

War Song

Fly Dragon, Fly
To the corners of the kingdom
Fly Dragon, Fly
Blaze a sign for all to see.
Fly Dragon, Fly  
For the time of War approaches
And the Armies of the MidRealm rise to meet the enemy.

Go Dragon, Go
Boldly sing the song of battle
Go Dragon, Go
Loudly blow the War Horn
Go Dragon, Go
Proudly we march forth behind you
Of chivalry and glory was the Middle Kingdom born.

Come Dragon, Come
Mighty warriors assemble
Come Dragon, Come
To the summons of the King
Come Dragon, Come
To the Pennsic War we travel
May the Dragon’s strength defend us
As we march beneath your wing

Fire Dragon, Fire
Spreading fast across the prairie
Fire Dragon, Fire
We shall drive away our foe
Fire Dragon, Fire
Let our deeds be told in story
For the honor of the Dragon now to War to War we go

Strike Dragon, Strike
For the Tyger is upon us
Strike Dragon, Strike
Let cold steel give our reply
Strike Dragon, Strike
Feel the battle heat rise in us
Let the ground beneath us tremble when to Victory we fly.

{after the last cannon, until before spring coronation}:
Sleep Dragon, Sleep
For now the War is ended
Sleep Dragon, Sleep
Gentle Dragon take thy rest
Sleep Dragon, Sleep  
For the borders are defended
‘Till we meet again in battle with the Foe we love the best

[repeat first verse]

Fly Dragon, Fly…

© 1989 Ben Tucker

Permission granted for reuse, performance, publication, and recording.  

Promisi et Credo

Three for whom a bard must stand
The crown and people of the land
Above these she who holds his heart
And above all else he serves his art

Three tasks by which a bard must live
To worthy deeds, praise freely give
To teach his students all his days
To seek for wisdom always

Three lessons that a bard must ken
Words have great power over men
Don’t just listen, learn to hear
Those who sing do not have fear

Words have no worth that are not true
and one who wears a wreath must know
To serve the Crown helps the land grow
Thus have I said, thus shall I do.



The Realm of Erehwon

Hearken to the sound of Erehwon's call
As the leaves of Summer turn to Fall
Beckoning warriors one and all 
To the Realm of Erehwon.

On the field of battle all as one
Gather in chivalry beneath the Sun
For a new day has begun
Behold the Realm of Erehwon

On the field and above the stream
Honor shines forth as bright blades gleam
For this moment it is no mere dream
We cross the bridge and enter Erehwon

As the eventide on us descends
Each combattant and consort are friends
Here in this land the dream nver ends
Share the joy of Erehwon.

In the dawn we watch the new Sun rise
There is no sorrow here among the wise
What lives and loves among us never dies
In the land of Erehwon.

(c) 2001 Ben Tucker {Owen Alun}

On Riddles

Class Description:  Riddle me this!
Riddles have been popular for thousands of years, and particularly in period. Learn what makes a great riddle, and try your hand at creating one.
— Master Owen Alun

What is a Riddle?

This class won’t attempt to define what a riddle is.
Riddles are fish.  Pretty, slippery, right in front of you, and yet elusive to catch. It is a metaphor that exists in stasis waiting for explanation, it is understanding striving to be born.
Riddle is a mask.
Riddle is play, is pretend.
Riddle can be parable
Riddle can be evasion.

Riddle is a game, and almost as old as that, it is the deadly serious game that is played for very high stakes.  The SphinxSamsonHeidrek, and of course Bilbo and Sméagol.

Riddle is a mystery wrapped up in an enigma.  Riddle sits at the point of connection between  drama and tragedy.    It is the confluence of disjoint things, and the irresistable force that drives action.

Riddle places the mind in wonder, changes the way we think, and in doing so may change the world around us.  Riddles reflect commonplaces between us and bring us together.

Riddle engages.

And then vanishes.

Rather than trying to define the what of riddle, let us look at the how.

A riddle brings together two things (which can be variously physical objects, monsters or mythic beings, present past or future actions, or anything whatsoever that the mind may ken), and finds commonplaces between them that allow one to hide in the shadow or reflected light of the other.

The Ancient Greeks had the riddle of the Sphinx, and had collections (now lost) such as

One example from Symphosius:

Virgo modesta nimis legem bene seruo pudoris;
Ore procax non sum, nec sum temeraria linguae;
ultro nolo loqui, sed do responsa loquenti.

A modest maid, too well I observe the law of modesty;
I am not pert in speech nor rash of tongue;
of my own accord I will not speak, but I answer him who speaks.

Riddles present us with the unexpected, there is often some humor in a riddle, though it may not be the predominant motif.  Riddles can be quite serious, even when they show humor, especially in concert with the Riddle game.

Cicero, in On the Orator (ch. 63), says that “The most common kind of joke is that in which we expect one thing and another is said; here our own disappointed expectation makes us laugh.”

Jesus spoke in parables.  The church fathers were aware of the power of parables, but were also concerned with the explication of the mysteries that they represented.  Augustine in the depth of his disillusionment in the Confessions said:  “I became a great riddle to myself”.  In his Expositions on the Psalms he said: ” The Lord Himself is at one time termed a lion, at another a lamb”   (Expositions, 11) and that at different times the allegories meant different things.  There was a significant concern that people could become confused and misunderstand things without guidance.

Practical considerations:

The semantic component of a riddle is structured by taking two “things” in the broad sense indicated above, and identifying similarities between them that can allow the one to hide in proximity to the other.

The aesthetic component of the riddle is constellated by creating syntactic and rhetorical flourishes that direct the audience to focus on the semantic properties of the structure.  Careful word choice is key with the avoidance of terms related to the hidden referent in favor of terms that describe the mask.

I have often said that in riddles the nouns lie and the adjectives tell the truth.  That’s not strictly true, but it’s been a useful starting point for some.

As far as presenting a riddle, it is important to realize that in creating a new riddle, there will be times when someone comes up with an alternate answer.  It is incumbent on the riddler to give credit to the guesser if they have kenned an alternate solution, lest you have to give up your own answer.  It is permissible in this place to say “that wasn’t the answer I was thinking of, but it serves” — then go off and refine your riddle to make it work more precisely for the intended hidden referent.

Riddles exist in suspension.  The moment that they are guessed, they transform into something else, a commonplace.  This transformation only happens once for each person who hears a riddle, so protecting the suspension is important to allow the riddle to work for new audiences.  Once someone has heard a riddle, their perception of it is as one who is “in the know”

In this regard, Riddles are a lot like legerdemain and slight of hand, except that in the end the secret of the riddle is guessed.  A good magician can do a trick more than once before their secret is divined.

The Riddle Game

The most common form of playing at riddles is the Riddle Game, where first one person then another take turns asking Riddles of each other, often then dropping out when there is a riddle that they cannot guess.

There is a literary trope of the Riddle Game as a method par excellence for determining fate.  This comes from the sense that solving riddles is itself an inspirational activity, and the one who can guess the Riddles the best must be favored either through cunning or direct benefice by the (G/g)od(s).  This gets particularly interesting when one of the protagonists is of divine origin.    In Folktake-Morphological terms, this most commonly happens at the barrier to go into the land of adventure, or as the final step to be able to leave (or live).  The resonance here is that the Riddle game in the story is represented as the same game that is played amongst friends, so being the one who can guess the riddles positions the guesser as heroic, challenging the unknown in the quest for wisdom.

The person asking the riddles is therefore in ways that aren’t true in most other performing arts, taking on a persona of the anti-hero, out to thwart the intentions of the guesser-hero.

This is one of the reasons why the Riddle Game is almost always played in turns.

A,  Analysis of some Riddles

“A box without hinges key or lid, yet golden treasure inside is hid”

(from The Hobbit)

The riddle double compares two sets of things, “a box” and “a thing that holds ‘treasure'”  — the discordance here is that the box is “not a treasure chest” and the “treasure” is implicitly “not something like gold coins”

A box  that contains a treasure that is not a treasure but that is golden in color.  The box is probably not a standard box, because it has no lid, no key, and no hinge.

The solution here is to see that the treasure is actually at the center of the riddle, if we know the nature of the treasure, we can then discern the nature of the box.

What is golden in color, hidden inside of something (and desireable), where the something is difficult to open?

To construct a similar riddle, we would think of a part for the whole relationship:  For example:

I was born on the back of a birds wing, though I fly not, I have one tiny foot yet my tracks may be quite large, my children are born of the air and at times return to it, I am the careful observer of deeds great and small, though delicate ’tis said I conquer all.

Who am I?

“The children” are the center of this riddle.

What things (children) are born of the air and can return to it and how are related to (part of) (something bird or bird-like)  (but is clearly not “a bird”)  that observes deeds and is (mighty/enduring/strong)?

B. Practicum

As an exercise, take two things and list three properties of each that are like the other thing.   No determine which way you want to go, and describe one of the things as if it was the other thing (letting the referent hide behind the description of the masking thing).

When presenting this as a class: 

We will then work in groups to generate one or two riddles as examples, working first through the semantic aspects and then looking at the asthetic aspects of phrasing.


 Riddle sources and commentaries:

For further reading:

Twisty Maze of Passages all Philosophical:


The Duties of a Bard

I’ve long said that the first duty of a bard is to observe. If we do not stand as witness for the events that surround us, then the stories are not available for those who come after us

Here is my current personal rubric:

Observe If we don’t notice the story, it may be lost
Remember Accuracy matters.
Reflect Find the narative threads in what you observed
Recount Identify the ways in which this narrative may matter to your potential audiences, both identified and to be found later.  Craft the story you want to tell
Rehearse Make good art.  Strive to be the best performer you can be.  If the narrative is important, the quality of the performance shows this more than the content itself
Relate Make the performance matter to the specific audience you are in front of, whether it’s 1 person or 1000, whoever they are and wherever you are.

History is the narrative that our descendants will tell about us.


The Method to the Madness

How Bardic Madness came to be and why.

It all started when I decided to go to an A&S fair, in Back then (1990), Northshield was part of the Middle Kingdom, so the fair was set up in the Middle Kingdom old A&S style. I thought that with my newfound interest in poetry and bardcraft, I ought to do something. So I figured I would write up a sonnet. But when I went to look at the documentation rules, it was a mail in category, so I couldn’t actually enter it as the date had already passed. I had just met Irene Tacita and invited her to come along to the event with me, so even though I wasn’t sure about what to do with the poem, I went to the event anyway {it was effectively our first date, and her second event}. During the day I spent some time talking with Mistress Sonja of Prague, then Kingdom Minister of Sciences. She listened to my angst-riddled concerns. I think I managed to not whine too much. At the end of the conversation, I said, “So … I suppose if I want things to be different, I ought to come up with an alternative that I like better and see what people think about it… Thank you for listening to me … I think I have an idea about what I want to do”

On the way home from the event, Irene got to be my sounding board for what such an event might look like.

The plan:

A place where everyone could be heard. Where anyone who wanted to stand up and perform would have a chance to share their work with others. The performances were deliberately single-tracked. Some classes in between the performance times would also be scheduled.

The theory was:

  • An event to encourage composition and performance
  • One track of performances so everyone would hear everyone.
  • A range of topics/activities so people could find things to do that were interesting to them
  • For the range of types of performances that bardic included.
  • Challenges should not generally be answeable in only one format
  • Not primarily contests, because judging would slow things down.
  • The criteria was challenge yourself.
  • Classes were a secondary thing to the performances, because we wanted to maximize performance time.
  • And a post revel to sing until we were sung out.

Patronage as a shared idea came later. The first three years I did the emcee until feast and asked someone to serve as feast herald to announce the performers for the. Challenges. I tasked them with listening carefully to the performers during the day and adjusting the performance order to prevent inexperienced performer from having to immediately follow star, and to talk to the performers about their pieces to vary the tempo. When for Bardic IV i got asked by two people to be the herald and when Rosanore and Johannes wanted to offer a contest challenge for the Northshield Motet, that gave rise to the idea of asking people to sponsor challenges. Throwing it open to people to volunteer was Wilhelm Dichtermann’s idea.

Initially class periods were in the morning and performances were in the afternoon. At Bardic IV we discovered that had limitations. We did 16 challenges. The brotherhood of the Iron Chair was a thing. Wilhelm Dichtermann entered every challenge.

Of note at Bardic IV, the creation of a meta-challenge: Gregor Villjemson told a unified story through all of the challenges he entered.


There were already several events in Northshield that happened either annually or ocassionally which moved from one location to another…

A&S moved from one location to another year after year. The Dance Seminar had also been going on — it moved about from place to place, this brought people together and encouraged something of a community of fellow-dancers, and brought the expertise to different places each year. This seemed like a good idea, so we ran with that.

There was also Royal University of the Midrealm which moved around.

The idea of doing a bardic event like this was somewhat crazy. I heard that more than once — so I embraced it as Madness.

My background at the time: I’d been in the SCA for 5 years. I had just started to get recognition as a performer.

I had recently moved from Jararvellir to Nordskogen. While in Jararvellir I had made friends with folk in Windhaven while serving as Northwatch chronicler. So knowing that I wanted the event to end with a good post revel. I approached windhaven about hosting the event and having posterevel at Halati’s house {the house where postrevels often were for Windhaven events. Halati is a superb and amiable host who is fascinated with and excited to talk about many different things}.

I had never autocratted an event before. I had only done one office, specialty newsletter editor, and I only really started doing the bardic thing about a two years before this.

I got my Willow (Midrealm AoA arts award) in bardic at Nordskogen Warlord, July 1990. So at the time I started the project, I had not yet received my Willow.

The first Bard of Nordskogen contest was January 1991. Cristoforo won.

1991 was the year of my travel boast about which is another story and the year I was apprenticed, shortly after Bardic I.

1991 was pre Internet. We used seneschals flyers to advertise events.

Some notes for those interested in possibly organizing an event based on this model:

Know the community you want to serve. What made the first event work was that I spent much of the year before the event on the road traveling to the groups in Northshield to meet people and find our who the performers were. And I invited them to come and they did.

I also tried to scale and set the challenges to be achievable and interesting to the people that I thought might come to the event, making some of them a bit of a stretch for the more accomplished performers and composers while some of them were simpler for those starting out. Different places that have adopted or adapted the model have tweaked the balance of easy and harder challenges to fit the community in that area. Northshield Bardic varies somewhat based on where in the kingdom it takes place.

Moving the event yearly seems to be important for preventing a group from developing a proprietary interest in the event.

We created the position of provost of the event who is responsible for representing the interests of the community and organising the event year over year. This position is not generally an officer or guild head, just the person who does the job. This autonomy from the system forces the provost to stay closely aligned with the community of performers since their only power is persuasion.

The provosts of the various bardic Madness events try to collaborate and attend each other’s events this is the closest we have to a formal governance structure.

Patrons are sought to encourage excellence in the various performance areas. Ideally the patrons sekected for the various challenges should follow up with the entrants in their challenges and try to engage with them beyond the event itself to help encourage their further growth.

The reason for calling them challenges was to avoid the timing issue and effort cost of formal judging.

The event continues to be an active and vital part of the kingdom 27 years later, and has spread and taken root in at least two other kingdoms, with an initial event having taken place in a third. The event embodies a method but not an exact template. If you are interested in trying to spread the Madness further let me and/or the provosts of the existing Madness events know and we will work with you.

“…We are only mad north-northwest, when the wind is southerly we know a hawk from a handsaw”

Play is the thing.

Impossible is largely an unprovable assertion.


Some history notes principally of interest to Norþshieldingar:

Bardic College: History

“[The charter was] crafted by Lord Raven, C.M. Joserlin, and signed and sealed April 30th, 1994 by Jafar and Catherine, King and Queen of the Midrealm.

“The College held its organizational meeting at Mermaid’s Retreat on May 21st of that year and Ld. Raven was appointed the first Speaker.

“The College holds its annual business meeting at Bardic Madness each year, to choose the new Council members and Speaker.

“Our intention was to create an organization with a minimalistic structure, so that people could not get caught up in the “inner workings” of the college: The only purposes of the college are to encourage bardic performance and bardic activities by and among all people in Northshield, whether they be “professed performers” or not, and to support composers and performers in their work, whether or not they consider themselves “part of the college” or not.” –from the original webpage hosting the charter, http://poet.minstrel.com/ncb/ncbcharter.html, last updated March 17, 1998

Council members are elected at the Bardic College’s one yearly meeting, held at Bardic Madness in early Spring. Two council members are elected every year, and terms are two years long; at every meeting, one of the outgoing council members is chosen after elections by the four current members to the be the Speaker.

Here is a timeline of the College, starting with the first Bardic Madness (which preceded the College):

Bardic Madness I, Shire of Windhaven (Fox Valley, WI), 1991


      • (Wilhelm Dichtermann’s first event.)

      Bardic Madness II, Shire of Shattered Oak (Eau Claire, WI), 1992Bardic Madness III, Shire of Silfren Mere (Rochester, MN), 1993

      • Finn Rex attended this and requested a tourney be held. This was the first event in Northshield not in a Barony which drew royalty since the days of Corin and Myfanwy.
      • Finn was presented with the Northshield “straw poll” results which were tabulated at the Seneschals’ council meeting that morning.

      Bardic Madness IV, Shire of Turm an dem See (Sheboygan, WI), 1994

      • This event was held at a stay-over site which we had from Friday night through Sunday.
      • It was after this one that Raven started talking about founding a college, which was chartered in April of that year and held its first elections at Mermaids that May.
      • Wilhelm entered every single challenge.

      Inaugural council members, May 1994

      • Brendan O’Corraidhe
      • Nawson ben Mas’ud
      • Wyndreth Berginsdottir
      • Owen Alun
      • Speaker: C.M. Joserlin, called Raven

      Bardic Madness V, Colleges of Nordleigh (Northfield, MN), 1995

      • Event information and list of challenges
      • This was the year that the basic format of challenges and classes intersecting started.
      • This was the year that Thorbjorn the Graysides performed the “Ta dum” sonnet to end the evening.
      • Elected: John Chandler Greyfeather
      • Aelfreda, called Goonie (?)
      • Speaker: Owen

      Bardic Madness VI, Shire of Western Keep (Brookings, SD), 1996

      • Morgana bro Morganwg met Wyndreth Berginsdottir at this event.
      • Dafydd, Gwyneth, and Ian attended. Ian gave out tokens.
      • The first singing of “Shield my Kinsmen”.
      • Elected: Herr Wilhelm Dichtermann
      • Rosamund of Trenchfield
      • Speaker: Wyndreth

      Bardic Madness VII, Barony of Jararvellir (Madison, WI), 1997

      • Conn and Kassandra (Prince and Princess of the Northshield) attend.
      • Cybele of Rowangrove receives her Award of Arms.
      • Elected: Lord Owen Alun
      • Lady Cybele of Rowangrove
      • Speaker: Chandler

      Bardic Madness VIII, Shire of Inner Sea (Duluth, MN), 1998

      Bardic Madness South I, called Jongleurs and Japes, at Grey Gargoyles/Tree-Girt-Sea (Chicago, IL), December 1998

      Bardic Madness IX, Shire of Rudivale (Grand Forks, ND), 1999

      • Tarrach and Fiona attend.
      • Elected: Lady Kudrun the Pilegrim
      • Berwyn (?)
      • Speaker: Cybele

      Bardic Madness X, Barony of Windhaven (Fox Valley, WI), 2000

      • Event information and list of challenges
      • Owen hands off North Provost position to Wilhelm.
      • Kudrun and Cybele enter almost every challenge.
      • Elected: Lady Ysolt Pais de Coeur
      • Lady Eliane Halévy
      • Speaker: Dahrien

      Bardic Madness South II, St. Carol on the Moor (Charleston, IL), Dec. 2000

      Bardic Madness XI, Shire of Mare Amethystinum (Thunder Bay, ONT), 2001

      • Saeric and Kenneth attend.
      • Elected: Bantiarna Deirdre inghen ui Bardàin
      • Lady Charissa de la Sirra
      • Speaker: Kudrun

      Bardic Madness South III, Shire of Greyhope (Valparaiso, IN), November 2001

      • Bardic performance given by almost the whole population of Greyhope. For many of the individuals, this was their first bardic performance ever.
      • Attended by several carloads from Calontir, Ealdormere, and Northshield.
      • First challenge entry involving participants from three different kingdoms.
      • Speculation begins on the possibility of “spreading the madness further”, i.e. additional Bardic Madnesses in other Kingdoms.

      Bardic Madness XII, Shire of Rockhaven (St. Cloud, MN), March 16, 2002

      • Wilhelm announces he is moving to Calontir and steps down as Provost. He names Eliane Halevy as new Provost starting with Bardic Madness XIII.
      • Elected: The Honorable Lord Aleksandr Vasilevych Lev of Volynia
      • Lord Cerian Cantwr
      • Speaker: Ysolt

      Bardic Madness South IV, Shire of Vonspring (Lansing, MI), November 23, 2002
      Bardic Madness XIII, Barony of Jararvellir (Dodgeville, WI), February 22, 2003

      • See photos from the event: TE Leif and Astrid’s photos on Their website
      • Event website
      • Schedule and list of challenges
      • Several carloads of visitors from Ealdormere come to add their talents to the day. Second-biggest Bardic Madness ever, held at Folklore Village in Dodgeville, in a lovely hall with an inlaid Compass Star in the floor. Their Excellencies Leif and Astrid, heirs to the Stellar Throne, sponsor a challenge, then stay until the very end of the challenge performances. Master John Chandler and Lord Heinrich co-autocratted.
      • Elected: Lady Ciara of Tor Aerie
      • Lord Dahrien Cordell
      • Speaker: Lady Charissa de la Sirra

      Bardic Madness South V, [location?], November 22, 2003
      Bardic Madness XIV, Barony of Castel Rouge (Winnipeg, MB, Canada), February 14, 2004

      • Pictures from the Unofficial Northshield Gallery
      • Event schedule, class list and challenges
      • Baroness Faerisa and THL Kolbrunna worked magic with an all-subtlety feast. THL Aleksandr Vasilevych Lev of Volynia autocratted. THL Madeleine from Windhaven, after many years as a Bardic Madness patron, broke her silence and performed in one of the challenges. Princess Anne and Lady Heir Giulia attended.
      • Elected: Lady Katherine d’Amiens
      • Baron Berwyn AEthelbryght of Ackley
      • Speaker: THL Cerian Cantwr

      Bardic Madness South VI, Shire of Baile na Scolairi (Bloomington, IL), November 20, 2004

      • Event website
      • Titled “The Feast of St. John the Fool”. John is the patron saint of fools, waterfowl, and lozengy fabric.
      • Steward: Catalin Zöldszem

      Eliane Halevy:

      • XIII: Jararvellir
      • XIV: Castel Rouge
      • XV: Shattered Oak 2005
      • XVI: Huron SD
      • XVII: CAM?
      • XVIII: Misting Waetru
      • XIX: Border Downs
      • XX: Windhaven 2010


      • XXI: Schattentor 2011
      • XXII:
      • XXIII:
      • XXIV: CAM 2014
      • XXV: Nordskogen 2015
      • XXVI: Rokecliff 2016


      • XXVII: Jararvellir 2017