The Garden of Sir Jibril – Words for the Knighting of Jibril al-Dakhil

The Full Chapter from the Book of Jibril on the Occasion of His Knighting

1. Into the kingdom came a man. 2. He was only a man, nothing more and nothing less, bestowed with the gifts which all men may access. 3. He took a name for himself, and was called Jibril. 4. This man could have taken his own gifts and done with them for himself. Many men do this, neither to their credit nor demerit. They are not judged. 5. Jibril took his gifts as though they were the seeds of fine trees. Each one he planted and tended.

6. After many years the trees did grow, to the height of a man, each green with leaves. 7. Though the growth was slow, he nurtured them with his deeds. The things he did for himself made the leaves brighter. The things he did for others made the trunks stronger. The things he did because they were the right things – those went deep into the soil.

8. In time the trees gave shelter and shade. Each limb he trimmed was fashioned into an object of beauty or a finely wrought weapon. The trees became a grove where people gathered around him in friendship. 9. All had come to respect this man who so tended his grove and was generous with his property and riches it had granted him. 10. One day Jibril was with his beloved company among the grove he had planted when, in the heat of the summer sun and its monsoons of rains, every tree burst into bloom. 11. The blossoms shone in the light, reflecting the gifts he had planted long ago, each branch weighty with his virtues.

12. The trees could now be named: Courage, with blossoms red as blood; Justice, blooming with orange fire; Generosity, as gold as honey; Hope, as green as the first spring; Mercy, as blue as lapis lazuli; Nobility, as purple as the dusk; Prowess, indigo so dark as to be night.  13. The last tree which opened did so at dusk, and it bore a flower of the most pure and shining white ever seen. All who saw it understood that Jibril, in all his ceaseless tending, had brought forth the rarest flower of them all – Chivalry.

14. And so it was that a blossom from this tree was shown to all the land. 15. Thus was Prophet summoned before the King and Queen in his own garden with those of greatest honor, each of whom wore about them the white of the sun reflected in the moon. 16. They bade Jibril sit vigil in his garden to consider the deeds of his life. 17. After the moon had set, the white blossoms fell before him and a single great fruit grew upon the tree. 18. When the crowd returned, the white-bearers plucked this blossom and did open it into the hands of Jibril. This was the fruit of his labours and love – a belt of white and a chain of gold. 19. It is said that this, while seeming miraculous, was indeed not so, for it was merely the fruits of labor well-earned. 20. And so it was that he who was known as Prophet was now known also as Knight.

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The Abbreviated Court Version as read by Queen Kiena at Pennsic’s East Kingdom Court
upon the Knighting of Sir Jibril al-Dakhil

Into the kingdom came a man.He took a name for himself and was called Jibril. Jibril took his gifts as though they were the seeds of fine trees. Each one he planted and tended.

Though the growth was slow, he nurtured them with his deeds. The things he did for himself made their leaves brighter. The things he did for others made their trunks stronger. The things he did because they were the right things – those went deep into the soil.

In time the trees gave shelter and shade. Each limb he trimmed was fashioned into an object of beauty or a finely wrought weapon. One day Jibril was with his people among the grove when every tree burst into bloom. The blossoms shone in the light, reflecting the gifts he had planted long ago, each branch weighty with his virtues.

The trees could now be named: Courage, with blossoms red as blood; Justice, blooming with orange fire; Generosity, as gold as honey; Hope, as green as the first spring; Mercy, as blue as lapis lazuli; Nobility, as purple as the dusk; Prowess, indigo so dark as to be night. The last tree which opened, did so at dusk, and it bore a flower of the most pure and shining white ever seen. All who saw it understood that Jibril, in all his ceaseless tending, had brought forth the rarest flower of them all – Chivalry.

Thus was Prophet summoned before the King and Queen in his own garden with those of greatest honor, each of whom wore about them the white of the sun reflected in the moon. After the moon had set, a single great fruit grew upon the tree. The white-bearers plucked this blossom and did open it into the hands of Jibril. This was the fruit of his labours and love – a belt of white and a chain of gold. And so it was that he who was known as Prophet was now known also as Knight.

On Documenting Original Songs

I don’t usually craft anything but scroll text in a documentable period form, but this question came up on a list I’m on, which caused me to consider the question.

As a boilerplate, I’d look at this as a fill in the blank sort of thing:


This was inspired by ______ event. It is in ________ style (with detail – year, form, rhyme, alliteration, etc) which is appropriate because ____________. I wrote it to _______________. The tune is (original, a contrafact, a filk, etc – with detail if you can about the tune.) It has elements of _______________ (phrases in a different language, descriptions of events or places from a period document, etc).


For example, if I read Tristan and Islote, and I wrote a song about how much they love each other beside the sea as she nurses him back to health – I’d explain the story origin and its period nature, what inspired me about it, and how I’ve chosen to represent that in song. I’d talk about elements I may have borrowed from the original text (“Tristan say THIS THING” to Isolte, and that is in my repeated chorus” or “We know that the King will eventually learn of their love and I foreshadow that doom in THIS fashion…”) So an explanation of your literary understanding of the piece is good. I used the cantus line from a French church chant as the repeated chorus. It is from 1213 (and I’d include a picture of the original if I could.) Because their love is outside of the court, I choose to perform this without any instruments to reflect the simplicity of their love in that environment. (AND SO ON…)

That’s how I’d “document” an original work with period origins.

My Writing Process

A question was brought up on a bardic group about writing process, and output. I mused over mine and decided to write my thoughts here.

“Question of the day, highly subjective: What do you expect of yourself in terms of output? Or, perhaps, what do you deliver? Do you try for a new piece a season? A month? A week? Someone once said, “I can write better than anyone who can write faster, and faster than anyone who can write better.” How long does it usually take for you to produce a piece you’re truly satisfied with?”

The majority of my work is an attempt to give a voice to some kind of emotional state. It could be inspired by my own emotions, or by another’s emotions. Sometimes it is just a flash.

So I don’t set a quantity goal for my pieces, I write them as they come.

I seldom write songs which tell a story, which is a different craft I think.

I am primarily a muse-channel writer. Songs tend to come nearly finished, completing themselves in a matter of minutes (seldom hours.) Poems are similar, if it’s something like a sonnet or free verse.

However, there are notable works which have taken Time but that’s been Time researching – the actual writing is like a cloudburst – I’ve seen the clouds gather and grow and darken and loom and when it hits, I write it down.

If a piece is taking time, I leave it. Really leave it. It’s not baked yet. I walk away. Sometimes I return to the idea and poke it with a toothpick, and if it’s ready, it will write itself.

But I also tend not to write “story” songs – my songs are more about a specific feeling, or a time

Proper period poetry styles (which I only do in English, as I know no other tongue) take more time – but hours though, rather than days.

Order of the Tyger’s Combatant – replacement scroll for Master Tearlach

 
Dutiful and dauntless is Tearlach. Afeared are all within his polearm’s strike. Unstintingly giving, arming, and armoring. Growling in glory. Admired by war-kin. Beloved by brothers. Thus, prowling with prowess, does Tearlach the Profane enter into the Order of Tygers Combatant by the hand of King Aelfwine and Queen Arastorm the Golden at the Ice Castle Tourney in Mountain Freehold, on this sixth day of February, anno sociatis XVI.

On SCA Patrons of Bardic Arts

A question about Patrons in the SCA was raised on a bardic list I’m actively a part of.

“Is there a tradition anywhere out there about being a bardic Patron? I know some folks have students, and Laurels can take apprentices… but is anyone/does anyone have a patron? How has that worked? Thanks!”

I decided to post my own answer below.

I would say that patronage is fluid. I view Master Julien de la Pointe and his lady Mistress Carolyne as my first Patrons – it was he who put me in situations where I would be Heard by people beyond the campfire in my home shire. He asked me to perform in challenging locations (the exhibition area at King & Queens A&S, for example, as an exhibition) and at the well-attended Eastern scotch & cigar night at Pennsic. Those were likely the first times anyone heard me outside my little home. They helped me become better known outside my own circle by their work as Patrons. I worked because I wanted to please and entertain them, and that work set the ground for my next Patronage.

Afie (Amanda Lord) and Toki were my next Patrons of a sort, meeting me at Pennsic just three years back or so. They encouraged me greatly, and ultimately my work to become Eastern Bardic Champion was inspired by their encouragement. I still turn to them for advice and assistance. I suspect I ever will.

As Champion I found all of my monarchs to be excellent Patrons. They requested things of me, I complied, and it was quite formal feeling, as was proper and mostly as expected.

However I did have another person who I think really fit, for a time, a very specific role as patron. Shortly after I was named Champion, Baron Angus Pembridge really took on a role as Patron, I think, much more what would have been medieval in style. It was not formalized in a ceremony or anything, but he commissioned a piece not long after we became friends, and provided in exchange a rich muse in the fighting community, which remains a source of constant inspiration to me today. I wrote and performed for him – sometimes by request and sometimes at my own wish – at his encampment and others. He introduced me to many people in that community as a Patron would – taking me to small gatherings, introducing me to people on the field, asking for a performance after the woods battle, and so on. A strong political ally, he helped me navigate the larger sea of Kingdom-level involvement with better grace than I would have had on my own, certainly. (With added help from Toki and Afie.) I would certainly not be the bard I am now without his patronage. Now that I am better-known by the people he wanted me to know, I think that aspect of our relationship has changed from Patron to something more nebulous – but if I am a tower, he is certainly a cornerstone in my foundation.

I think Patronage does exist, formally for some, and less formally for others, but I found it invaluable in every instance and would hope that others have the opportunity to experience it with someone as well.