Aneleda Falconbridge

September 7, 2014September 7, 2014

A Norse Woman’s Hair

Aneleda Falconbro...Norse style. ( Or is that Eneleða Falconbro? ) — Aneleda Falconbro…Norse style.
( Or is that Eneleða Falconbro? ) Photo by Jenn R Miller.

I have two Norse dresses, loosely based on the Birka finds, plus some research across a lot of different sources. My smokkr are in a slubby linen-looking stuff and a soft green woven wool blend of plausible design.

So they have the two straps, they’re cut more or less properly, they’re unadorned save the handmade trim on one made by Lady Ysemay Sterling, and there’s the all-important “viking bling.” I made the brooches myself, hand-shaping them with a hammer in an armor dishing stump. (They I modernly sanded on a belt sander them so as not to get covered in burrs and such.) The bling includes some tokens and two strands of beads, one of which was made by my friend Baroness Astrid Ufkilsdottir. My mother added to my research and so their shoulder loops are made nicely and…so on.

It isn’t a perfect kit, but a nice enough one – but there is always the issue of …HAIR.

I sometimes wear “fantasy viking” hair – my hair loose with a few braids. Or just two braids. Or two small braids hanging loose and the rest braided in. But they’re not based on any research.

So this time, I decided to actually *do* my hair.

I’ve seen a lot of small bronze castings of women, and they seem to have a similar hair style – either thickly pulled back and knotted (for long hair) or perhaps braided and then knotted.

Like this:

Or these:

But then….there was THIS ONE.

I could try this hair.

Because I was doing this myself and couldn’t get a lot of good angle on the sides of my head, I braided my hair into only five braids in the front – one on the crest of my brow, and then the other four to my ears. I pulled them back and then gathered them. I tried to knot them but it didn’t work, but loosely looping them up, I secured them with a single large hair pin (I should make some of these in metal – they’re simple but really effective, even in plastic.)

It isn’t as “poofy” in the back, nor as low, but it kind of has the same effect. I’ll continue working on achieving this style I think.

Next time I will use smaller but more numerous braids and try to think how to make them stand out more. I think it will have to do with the length of the top braids, but this will require more work and probably a friend to help.

I’ll keep you posted after the next hairdo!

Note: The more I look at this, the more like dreadlocks it resembles, which would make it stand out that way much better. I’m not going to try that, but you’re welcome to. (If you do, let me know how it goes.)

September 2, 2014July 11, 2016

By the Weight of the Chain

This piece requires an introduction.

I wrote this song as a song about chivalry, and The Chivalry in the Society, because I felt there should be a song in which the aspirant has agency and acts on a lifetime of work to achieve her or his goal. I didn’t want a narrative song, about another person, but I wanted a first-person account of the love and work and the valor and vowing that is needed to become a Chivalric Peer. Many of the Knights and Masters of Arms I know who have been recognized as such to date have followed a path similar to the one I outline – each in their own way, but the path seemed pretty clear to me. I also wanted it to work for a man or a woman, and for a Knight or a Master. And finally, it had to have some pep and joy because to me the best chivalry is enacted with a heart of joy and forward motion.

This is that song.

The public debut was at Pennsic 43 at my concert, though it had been sung for two people before that night, one of whom was in vigil when I brought it as a song-gift.

There is a recording of the piece as it was first imagined and performed is at the bottom of the page. It has changed in tune, but it’s a good archive of how this stuff evolves.

The recording below was done at the SCA 50 Year Celebration and features Lady Abhlin and THL Andreas Blackwoode.

Aneleda Falconbridge “By the Weight of the Chain”
written July 20, 2014. Copyright Monique Bouchard 2014.

**By the weight of the chain
of gold I wear upon me
By the white of the cloth
about my body bound
By the spurs on my heels
I do swear upon my honor
to uphold the Knightly virtues
till I lay beneath the ground.**

When I was young
I watched the Knights go riding,
their armor so bright
and their glory brighter still.
My hands were small
but my dreams lay large around me
and once the goal had found me
I set out to gain my skill.

By the weight of the chain

When I had fledged,
I served as I was able,
I found worthy knights
and asked to learn their ways.
My form grew strong,
sturdy plates I wore upon it –
when I finally could don it
and the heavy sword could raise.

By the weight of the chain…

When I had grown
I followed into battles
warriors of legend
with my war-kin at my side.
My mind grew calm,
all their lessons moving through me,
my foes could not undo me
with these masters as my guide.

By the weight of the chain…

When I was raised
I stood before my sovereigns
and my new kinsmen
and unto them pledged my troth.
My heart is bold,
To my best I shall endeavor
to defend the dream forever
which first took me toward my oath.

By the weight of the chain…

When I was young
I watched the Knights go riding,
their armor so bright
and their glory brighter still.
My hands were small
but my dreams they did bind me
now that the goal did find me
I will ever heed its will.

_______________________________________________

…so later I went to the Known World Bardic Congress and Cooks Collegium VII and while there I spent time with old friends and made some new ones.

I’d been invited to be a performer in a concert called “Luminaries” in which performers from 11 Kingdoms would participate. The names were familiar – a veritable who’s who of intimidating order. I was given the chance to perform and represent the East. Selecting the song had me in fits and I finally settled on “Weight of the Chain.”

Now I’d been hanging out listening to music late at night with a pile of people (imagine!) and Andrew Blackwood McBain and Kari Garanhirsson sang “Sons of the Dragon” and I was all kinds of blown away.

So I said, “HEY WE GOTTA DO THIS THING” and dragged them off into the night, you know, like you do.

I sang “Weight of the Chain” to them and then just said, more or less, “Ok. Do what you do.” Mistress Zsof joined us and gave some artistic coaching as to the arrangement and we practiced it a few times before going to bed. Before the concert we ran through it twice, where it really locked in.

The concert was pretty cool.

Here’s our part, now with three…

And you can download you own version in mp3 here….
http://mbouchard.com/misc/By-the-Weight-of-the-Chain–Aneleda-Andrew-Kari.mp3

_______________________________________________

Then Kari looked at me with big, soulful puppydog eyes and asked if he could please sing it. So, ok sure! And then Zsof asked if she could play. So, ok sure!

Now, you gotta understand this. Kari is the singer for a band, Deadiron. When he lets his hair out of the ponytail, he transforms into a rockgod. Which happens with alarming regularity and also he has nicer hair than I do so I’m jealous. But I digress…

We tried it. And this is what happened:

Original draft version recording below.

August 11, 2014July 13, 2015

Tyger of the East for Duke Gregor Von Heisler

The Tyger of the East is an award given to those who most embody and personify the ideals of the East Kingdom. No more than one person may be so recognized during a reign; a person may receive this honor only once. Duke Gregor von Heisler was so honored by Emperor Brennan and Empress Caiolfihonn at Pennsic 43. I was asked by Dutchess Kiena Stewart to craft the text. It is one of the most touching comissions I have received.

C&I by Dutchess Katherine Stanhope, words by Aneleda Falconbridge

__________________________________________________

Die Menschen hier hören: Wir gelauben, so knecht dienet herre, diene herre auch knecht. Einem ieden solchen man ist auch lieb, nach narung z.u stellen vnd zu trachten. Im ist auch lieb, ere mit eren, trewe mit trewen, gute mit gute widergelten. One liebkosen mit kurzer rede: aller werlte aufhaltung, festung vnd merung sint die werden herren.

Ere, Zucht, Keusche, Milte, Trewe, Masse, Sorge vnd Bescheidenheit wonten stete in sînem hofe. Wirt, ingesinde vnd hausgenosse aller guten leute is Gregor Von Heisler. Wir nennen Sie den goldenen Löwen ein Tiger des Ostens.

Es steht geschrieben: Brennan Augustus Caiolfihonn Augusta

Angesichts 6. August anno sociatis XLIX am Pennsic Krieg XLIII, Königreich Æthelmearc

English Translation

People here, listen: We believe, as the servant serves the master, so the master shall serve the servant. It is a pleasure for such a man to strain for food and strive after honour. It is also a pleasure for him to meet honour with honour, fidelity with fidelity, and good with good. To summarize a long compliment in few words: noble men are the support, the fortification, and the increase of the whole world. Honour, propriety, chastity, generosity, fidelity, moderation, care, and modesty always inhabited his house; host, servant, and household member of all good people is Gregor von Heisler. We name the golden lion a Tiger of the East.

It is written: Brennan Augustus / Caiolfihonn Augusta

Given August 6, anno sociatis XLIX at the Pennsic War XLIII, Kingdom of Æthelmearc

About the text

Words based on “Der Ackermann aus Bohmen/The Husbandman and Death” by Johannes von Saaz written 1401, published 1460; translated into English by Dr. Michael Haldane; crafted to scroll text by Aneleda Falconbridge, with additional translation assistance from German language teacher Melanie Manzer Kyer.

The scroll text is Middle High German “Der Ackermann aus Bohmen” which is a conversation between Death and a Husband, and is significant for the time period, noted as one of the first “humanistic” works.

Because Duke Gregor’s time is in sync with modern times, it would be 1414 to him, and this piece would not have been yet published, though it would have been written. I consulted with a non-SCAdian friend who teaches German and whose studies included a class in Middle High German, she made minor changes to the text at my request (some gender changes) and helped me to rework a line – but other than that the entire text is “as written” by the author in 1401.

The piece is a pretty good read, by any standard. http://en.wikipedia.org/wiki/Der_Ackermann_aus_B%C3%B6hmen

July 17, 2014July 13, 2015

Laurel for Anna Mikel von Salm

This Scroll is actually a book. The text is written as a series of poems in ryme royal – a form introduced by Chaucer in the 1380s which was considered one of the standards for narrative poetry during the Middle Ages. It is a seven-line iambic pentameter rhyming poem with the structure of ababbcc.

Mikel’s persona is 16c German, and so I used relevant German aphorisms for the headings for each poem. They are probably not period but they are appropriate and fun, and help tie this to her persona more tightly. (I’m ok with it.)

The scroll-poems each took two pages. The official text itself is followed by a set of poems about specific arts that Mikel enjoys: dance, dabbling, music, and ink. They are written by Baron Jean Corbeau de Montaigne, Baroness Sylvia du Vey, and me.

Some of the pages of the book by Lady Camille des Jardins.

PAGE ONE INSCRIPTION

Allwissend bin ich nicht; doch viel ist mir bewusst
“I do not know everything; still many things I understand”

THE BEGINNING

Wie man in den Wald hineinruft, so schallt es heraus.
“Just as one calls into the forest, so it echoes back.”

Join Eastern people and rejoice today
As Empire’s Crown doth call you gather here
Now harken all, listen well as you may.
So shall we strive to make our meaning clear
As we lay wreath upon our subject dear
We muse upon the sweet Anna Mikel –
And how the pow’r of Art doth her impel.

Anfangen ist leicht, beharren eine Kunst.
“To begin is easy, to persist is art.”

Upon that holy road few can compete
with melodies that issue note by note,
with work of thread and cloth ever so neat,
from tiny works to luxuri’ous coat.
From letters on the page that she hath wrote,
to dancing merrily, to living well
within the glor’ious tent where she oft dwell.

Within the house which she hath built with love,
Her handiwork enlivens Wanderstamm,
that look’d like heav’n had brought it from above-
bright braziers, bocce, or softly sung psalm,
a place where work is seen as cheerful balm,
as joyful as a rousing roundelay
industri’ous devotion to this play.

Das beste is gut genug
“The best is good enough”

To Anne Mikel von Salm, no art do daunt
so we bestow these arms that she may bear
Argent, on (a) pale sable a rose argent,
a bordure gules, by letters patent rare.
Lay on her curling corona of hair
or on her shoulder place the sacred wreath
that all may ken the artist underneath.

Bedenke das Ende.
“In your every endeavor reflect the end.”

Acknowledged hereforth as a Laurel fine
from this the twelfth day of merry July
anno sociatis forty nine
Brennan, Augustus, declares it true and nigh
Cailfhionn Augusta joins with her reply
at the Malagent’s great northeastern war
Mistress Mikel be known forever more.

THE POEMS

On Dance

Je toller, desto besser.
“The more the merrier.”

She glides with subtle grace across the floor.
Her cheerful word and ready laugh they hear.
She welcomes those who seek for Terpsichore,
and bids youth and experience draw near.

And should the fearsome enemy’s head rear,
her feet will flow from glade and ballroom hence,
to use her agile art in East’s defense!

– Baron Jean Corbeau de Montaigne

On Dabbling

Beispiele tun oft mehr als viel Wort’ und Lehr’ .
“Examples often do much more than words and teachers.”

Here we hath praise for one of great talent
praise many things, for she loves to dabble
the pen, the bow, the sword, the dance gallant,
music for kings and for cheerful rabble,
kind in her words, indisposed to brabble,
teaching, dancing, or leading the choral,
lo, it is shown, she ought be a laurel.

– Mistress Sylvia du Vey

On Ink

Das Word verhallt, die Schrift bleibt.
“The word dies away, the written remains.”

Language’s power each neat stroke contains,
beauty immortal pours forth from her pen.
The word dies away, the written remains,
Every inflection she makes live again.
Alighting on pages soft as the wren
lands in the forest, but with gall and gold,
she captures our words and stories we’ve told.

– Baroness Aneleda Falconbridge

On Music

Wie die Alten singen, so zwitschern auch die Jungen.
“As the old ones sing, so do the young ones chirp.”

The fine lady gathered folk round the stems,
and pulled forth fine blossoms out of carved wood,
She transformed musicians into sweet friends
who lightened all hearts where-ever they stood.

Her music, so lovely, does nought but good.
Voices raised heavenward, feet made to dance,
Euphony infuses life with romance.

– Baroness Aneleda Falconbridge

July 17, 2014July 13, 2015

AoA Ellen of Shrewsbury

ANGLO SAXON

Wæs midsumor ða se casere sendede, be al his þeode læred and lawed on his kynerice wæron, æfter Ellen on Scrobbesbyrig þet heo æuestlice scolde to him cumon, heo swa dyde.

Ða cwæð se casere to hire: ‘Leof Ellen, ic haue geseond æfter þe for mine saule þurfe, ic hit wile þe wæl secgon forhwi.”

Ða cwæð se casere heo wæs god wifmann and sigewif. For twentig gearum, heo com fram begeondan beorge and heo geaf wæter to norðfrecan. Ealle folc lufede hire, for heo ahealp þam wearigum byrnwigum, þam unlytel and ungetel eorlwerode.

Þa stod se casere up toforen ealle his ðægna cwæd luddor stefne: “ic wille þet ge ealle getiðe mine worde.”

Ðas is se gife: To libbanne on þas landes, þas wateres, meres, fennes, weres, ealle þa landes þa þærabuton liggeð ða of mine kynerice sindon freolice Hlaefdigan Ellen.

Se casere cwæþ þa wærð he swiðe glæd; heot seonden geond al his þeode æfter alle his þægne, æfter ærcebiscop, æfter biscopes, æfter his eorles, æfter alle þa þone East luuedon, þet he sette þa dæi hwonne man scolde Ellen gehalegon. Ða man halgode heo, þa wæs se casere Brennan and his casern Caoilfhionn.

Þat was þone twelfta dæg of Liða, anno sociatis xlix æt þeode beadulace norðeaste on Malagentia.

Ðas sindon þa witnes þe þær wæron, þa þet gewriten mid here fingre, ietten mid here tunge.

BRENNAN IMPERATOR
IMPERATRIX CAILFHIONN

__________________________________________

MODERN ENGLISH

In midsummer sent the emperor, by the counsel of all his people learned and lewd in his kingdom, after Ellen of Shrewsbury, that she should immediately come to him. And she so did.

Then said the emperor to her: “Beloved Ellen, I have sent after thee for the good of my soul; and I will plainly tell thee for why.”

Then said the emperor that she was a good woman, and a wise woman. For twenty years she had come from beyond the mountain and given water to northern heroes. All loved her for she assisted the weary soldiers clad in armor, the large and innumerable warrior band.

Then stood up the emperor before all his thanes, and said with a loud voice: “I will that you all confirm my words.

This is the gift: To live on these lands, and these waters, and meres, and fens, and weirs, and all the lands that thereabout lye, that are of my kingdom, freely, as Lady Ellen.”

When the king said that, he was very glad; and bade men send through all the nation, after all his thanes; after the archbishop, and after bishops: and after his earls; and after all those that loved the East, and he fixed the day when men should hallow Lady Ellen. And when they were hallowing her, there was the emperor Brennan, and his empress Caoilfhionn.

That was the 12th of July, Anno Societatis XLIX in the Great Northeastern War in Malagentia.

These are the witnesses that were there, and that subscribed it with their fingers and confirmed it with their tongues.

BRENNAN EMPEROR
EMPRESS CAOILFHIONN

______________________________________

Notes:

To do this scroll I read an online version of the Anglo Saxon Chronicles (http://www.gutenberg.org/cache/epub/657/pg657.html) and an English translation of them (http://asc.jebbo.co.uk/e/e-L.html).

I had to look up sections which said what I wanted, and then sometimes search for a word that the original didn’t contain. I also looked for appropriate place names in the proper period for Shrewsbury, for example, as it would have been noted in the Chronicles.

When I was done, I sent the translation (What I Meant To Say) and the Anglo Saxon text to Lady Dreda who proofread it and then made changes to square up gender and some word orders, as well as polish it.

Duke Kenric of Essex read it in court in Anglo Saxon English as well as in Modern English at the Great Northeastern War.

These are my rough notes and facing page mess: ANGLO SAXON TEXT V2.pdf.