History of the Bardic Chairs
A Note on Terminology and Pronunciation
The term “Chair” generally refers to a title, or to the holder of that title, though there is also a physical Bardic Chair which is awarded to the Bardic Chair! The terms “Bardic Chair of Exeter” and “Bard of Exeter” are synonymous. A “gorsedd” (pronounced “gorseth”, the plural being “gorseddau”, and pronounced “gorsethi”) is a group or gathering of bards, though “Eisteddfod” (plural “eisteddfodau”) refers more specifically to a bardic meeting where poetry or other arts are performed or shared, and especially where there is a competition. While “bard” is the term given to a poet or (lyrical) musician within this tradition, anyone who becomes a member of the gorsedd, regardless of their poetical inclinations, would be referred to as a bard of the gorsedd e.g. “a bard of the Gorsedd of Caer Wyse in Dumnonia” (to use the full name for this gorsedd) or “a bard of the Exeter Gorsedd”, but not referred to as “a bard of Exeter”, as that title is reserved for the holder of the bardic chair only.
The Origins of the Tradition and the Wider Movement
The original bards were a highly esteemed order of Iron Age poets, musicians, satirists, genealogists, historians, and more than likely, mystics. There are certainly references to them undergoing shamanic-style initiatory rituals. They were contemporary with the original Druids, who were an immensely powerful order of sages, philosophers, intellectuals, teachers and probably priest/magicians, and the Ovates who were the psychics, mediums and prophets.
The 18th Century, saw probably the most significant bardic and druidic renaissance of modern times. It was quite masonic in it’s organisation, and as well as being a celebration of, particularly Welsh, Celtic heritage and culture, it was a vehicle for various protestant christian theories which suggested that the ancient druids were either one of the lost tribes of Israel, or at the very least were Judaeo-Christian in their outlook. They strongly espoused the values of justice, (especially social justice), and challenged the poverty and oppression of the Industrial Revolution.
Druidry has continued to re-invent itself, acquiring more pagan influences following the abolition of The witchcraft Act in 1951, and the friendship and collaboration of leading druid (and regular churchgoer) Ross Nichols with the witch, and founder of modern Wicca- Gerald Gardner. “New Age” and feminist influences came in from the 1960’s onwards (druidry was for a long time an exclusively male preserve, even though some ancient sources do obliquely refer to “druidesses”), and more recently still, a very strong ecological emphasis has emerged within the movement
But getting back to the 18th Century: we believe that it was Iolo Morganwg, (pictured left) the founder of what we now recognise as the Welsh National Eisteddfod and a huge influence on the bardic/druidic movement of his day, who first claimed that ancient manuscripts in his possession referred to a network of Bardic Gorseddau “of the Isles of Britain”, and to certain cities and sacred sites as being high druidic (and some arch-druidic) centres and this idea was developed further by his successors and admirers.
It is worth pointing out, at this juncture, that the historical accuracy of Iolo’s claims is highly dubious and that in all likelihood no such “ancient manuscripts” ever existed, despite his ironic espousal of the bardic/druidic motto “The truth against the World”! However, we think it’s rather harsh to label such an important “hero” of the movement as an out- and -out fraud. A more mystical perspective might theorise that he “channelled” his information. At the very least we like to think that he was creatively inspired, and that, although the history he outlined was possibly a purely “romantic” one, it is no less important or valid, as long as we distinguish it from academic history.
The term “Chair” generally refers to a title, or to the holder of that title, though there is also a physical Bardic Chair which is awarded to the Bardic Chair! The terms “Bardic Chair of Exeter” and “Bard of Exeter” are synonymous. A “gorsedd” (pronounced “gorseth”, the plural being “gorseddau”, and pronounced “gorsethi”) is a group or gathering of bards, though “Eisteddfod” (plural “eisteddfodau”) refers more specifically to a bardic meeting where poetry or other arts are performed or shared, and especially where there is a competition. While “bard” is the term given to a poet or (lyrical) musician within this tradition, anyone who becomes a member of the gorsedd, regardless of their poetical inclinations, would be referred to as a bard of the gorsedd e.g. “a bard of the Gorsedd of Caer Wyse in Dumnonia” (to use the full name for this gorsedd) or “a bard of the Exeter Gorsedd”, but not referred to as “a bard of Exeter”, as that title is reserved for the holder of the bardic chair only.
The Origins of the Tradition and the Wider Movement
The original bards were a highly esteemed order of Iron Age poets, musicians, satirists, genealogists, historians, and more than likely, mystics. There are certainly references to them undergoing shamanic-style initiatory rituals. They were contemporary with the original Druids, who were an immensely powerful order of sages, philosophers, intellectuals, teachers and probably priest/magicians, and the Ovates who were the psychics, mediums and prophets.
The 18th Century, saw probably the most significant bardic and druidic renaissance of modern times. It was quite masonic in it’s organisation, and as well as being a celebration of, particularly Welsh, Celtic heritage and culture, it was a vehicle for various protestant christian theories which suggested that the ancient druids were either one of the lost tribes of Israel, or at the very least were Judaeo-Christian in their outlook. They strongly espoused the values of justice, (especially social justice), and challenged the poverty and oppression of the Industrial Revolution.
Druidry has continued to re-invent itself, acquiring more pagan influences following the abolition of The witchcraft Act in 1951, and the friendship and collaboration of leading druid (and regular churchgoer) Ross Nichols with the witch, and founder of modern Wicca- Gerald Gardner. “New Age” and feminist influences came in from the 1960’s onwards (druidry was for a long time an exclusively male preserve, even though some ancient sources do obliquely refer to “druidesses”), and more recently still, a very strong ecological emphasis has emerged within the movement
But getting back to the 18th Century: we believe that it was Iolo Morganwg, (pictured left) the founder of what we now recognise as the Welsh National Eisteddfod and a huge influence on the bardic/druidic movement of his day, who first claimed that ancient manuscripts in his possession referred to a network of Bardic Gorseddau “of the Isles of Britain”, and to certain cities and sacred sites as being high druidic (and some arch-druidic) centres and this idea was developed further by his successors and admirers.
It is worth pointing out, at this juncture, that the historical accuracy of Iolo’s claims is highly dubious and that in all likelihood no such “ancient manuscripts” ever existed, despite his ironic espousal of the bardic/druidic motto “The truth against the World”! However, we think it’s rather harsh to label such an important “hero” of the movement as an out- and -out fraud. A more mystical perspective might theorise that he “channelled” his information. At the very least we like to think that he was creatively inspired, and that, although the history he outlined was possibly a purely “romantic” one, it is no less important or valid, as long as we distinguish it from academic history.
20th Century and the Continuation of the Bardic Tradition
But to continue this history;
in the last century, the 1920’s saw, among other things, a regional
English Eisteddfod held in Torbay, and the birth of Gorsedd Kernow,
but the particular strand of the movement most relevant to us only
really came to fruition when Tim Sebastion came into the picture. Tim
was a true child of the sixties who later founded the Secular Order of
Druids (among many other achievements and exploits!) and on settling in
Bath discovered that it was listed as one of the ancient Bardic Chairs,
initially referred to by Iolo. He set about reviving it and in so
doing, formed a template for future bardic chairs.
How we continue the tradition
All the
ancient Bardic Chairs have been given “celticised” names, though it is
likely that Caer Wyse is a misspelling of Caer Wysge”, deriving from
Isca, the Roman name for Exeter, and originally the name of the River
Exe. The River Usk in South Wales has a similar derivation, as does
Whiskey (“the water of life!”). Caer means enclosure, fortification, or
settlement. Cardiff is a city with a name derived from the same source.
We favour the pronunciation kye (to rhyme with sky)-air, wizz-ger.
The Motto
“Nothing is Forever that is not Forever and Ever”
The above is quoted as the bardic motto for Devon in a treatise by Aneurin Vardd originally published in “The International Review” and reprinted in “The Druid Source Book” (see further reading). Our friends at Gorseth Kernow kindly provided us with a translation into the Cornish language, which is the ancient Celtic tongue most appropriate for formal use in this Gorsedd, as both Devon and Cornwall were at one time both part of the kingdom of Dumnonia. The Cornish version reads –
“Travyth yu bys vyken, nag yu trank hep worfen”.
-----------------------------------------
The Physical Bardic Chair and the Stone Circle
The term “Bardic Chair” has it’s origins in the special place or seat reserved for the most esteemed poet in the court of ancient Celtic kings and chieftains (also a precursor to the Poet Laureate). The Welsh National Eisteddfod made a tradition of awarding real physical chairs as poetry prizes and now many bardic Gorseddau, (including Gorsedd Kernow, who have theirs on display in Truro Cathedral) have acquired ornate physical chairs which the incumbent bard takes possession of for the course of their tenure. We have recently acquired such a chair ourselves.
The gorsedd are also the proud owners of a stone circle, albeit a very little one!
In the tradition of Iolo Morganwg (the key 18th Century exponent of Druidry and Bardism and the founder of the Welsh Eisteddfod) we have a moveable circle in the form of a “pocketful” of stones that can be arranged into a circle wherever the gorsedd choose to meet, hence the role of “Keeper of the Stones”.
Iolo began this tradition at London’s Primrose Hill, which is also the location of a Bardic Chair. Our stones have been selected from the flower beds adjacent to the castle ruins at Rougemont and therefore in all likelihood were once part of the fortifications of arguably the oldest castle in England.
Membership and the Initiatory Vow
Membership of the Gorsedd is open to anyone who seeks it, though in extreme circumstances it can be revoked by the Grand Bard/Druid Chair, traditionally by a symbolic drawing of the ceremonial sword, which is never unsheathed for any other reason, being a symbol of peace. Membership is free and informal. Prospective bards of the Gorsedd are invited to thrice repeat a vow (which is a vow only to themselves, not to anything or anyone else):
“I speak my own truth
In respect and love, I live
Inspiration I will seek
Inspiration I will give”
Our Spiritual Patron
The Cornish Gorsedd make a call to Arthur, the once and future king, during every ceremony. Inspired by this, but wishing to put a Devonian slant on things, we have adopted Sir Francis Drake as a spiritual patron and protector-figure. We are not so much concerned with the historical Drake (although that’s also very interesting, although more controversial, as he took part in the slave trade which is something we would not wish to condone), but with the archetype which he represents. On this level he embodies exactly the same qualities as Arthur- he saved the nation from invasion, according to legend he will also return to defend us if the need arises (Check out the legend of “Drakes Drum” which was believed to sound at the onset of the First World War), and his name means “dragon” as in Pendragon. He also had strong links to Exeter, so seemed the ideal choice.
Funding and Constitution
The Bardic Chair and Gorsedd are non-profit making, and at this stage, despite having a strong and clearly defined ceremonial structure, have a very informal constitution, with something of a bohemian and “underground” character to it. The role of the Grand Bard/Druid Chair is to lead the gorsedd and ensure that it remains true to the bardic tradition, though there is plenty of scope for originality- each bardic chair has evolved in its own unique way. However, particularly in the early stages, the Druid Chair is expected to keep a strong hand on the tiller and remain as a “benign dictator” until the gorsedd is sufficiently established, at which stage it can develop into a more democratic organisation with a Chairman, Treasurer, Secretary, designated bank account and so on. It may also take on a more mainstream, quasi-civic profile.
So far all expenses have been met by the current Druid Chair himself, and the gorsedd is in financial deficit. Donations are welcome and some funds have been raised through sale of books and entry fees to the last competition, though proactive fundraising has not been a high priority to date. Accounts have been kept and are available for inspection by any prospective donors.
Ceremony
This is, almost literally, a movable feast! There are various components that we can use in any given ceremonial gathering. They can take place outdoors (preferably barefoot) in an “open” circle, or, particularly, for the actual poetry competitions, a more formal indoor “audience and stage” arrangement is entirely appropriate.
A call to Drake (in the same way that Gorseth Kernow call to Arthur), the triple chanting of the Awen, and triple call “First do we have peace?” by the Swordbearer are all excellent (but not essential) ingredients. These can be further embellished by the mass singing of “Jerusalem” and the passing around of bread and “wine” to the assembled throng. This would also be given as a symbolic offering to both the divine (“above”) and the genius loci (below).
The liquid libation should either be something appropriately Devonian such as Buckfast Tonic Wine, Plymouth Gin, local mead, cider or ale, or Whiskey (which has the same etymology as Wyse/Wysge/Isca and Exe!). It’s also nice to offer a non-alcoholic alternative so no-one need be excluded.
Ceremonies should be big, bold, colourful and creative. Processions through the city streets are a good way to grab people’s attention. Robes are encouraged for those that have them, and the wearing of predominantly blue clothing is encouraged for those who don’t!
It’s also good to incorporate Morris, Mummers, Musicians and the like.
The Motto
“Nothing is Forever that is not Forever and Ever”
The above is quoted as the bardic motto for Devon in a treatise by Aneurin Vardd originally published in “The International Review” and reprinted in “The Druid Source Book” (see further reading). Our friends at Gorseth Kernow kindly provided us with a translation into the Cornish language, which is the ancient Celtic tongue most appropriate for formal use in this Gorsedd, as both Devon and Cornwall were at one time both part of the kingdom of Dumnonia. The Cornish version reads –
“Travyth yu bys vyken, nag yu trank hep worfen”.
-----------------------------------------
The Physical Bardic Chair and the Stone Circle
The term “Bardic Chair” has it’s origins in the special place or seat reserved for the most esteemed poet in the court of ancient Celtic kings and chieftains (also a precursor to the Poet Laureate). The Welsh National Eisteddfod made a tradition of awarding real physical chairs as poetry prizes and now many bardic Gorseddau, (including Gorsedd Kernow, who have theirs on display in Truro Cathedral) have acquired ornate physical chairs which the incumbent bard takes possession of for the course of their tenure. We have recently acquired such a chair ourselves.
The gorsedd are also the proud owners of a stone circle, albeit a very little one!
In the tradition of Iolo Morganwg (the key 18th Century exponent of Druidry and Bardism and the founder of the Welsh Eisteddfod) we have a moveable circle in the form of a “pocketful” of stones that can be arranged into a circle wherever the gorsedd choose to meet, hence the role of “Keeper of the Stones”.
Iolo began this tradition at London’s Primrose Hill, which is also the location of a Bardic Chair. Our stones have been selected from the flower beds adjacent to the castle ruins at Rougemont and therefore in all likelihood were once part of the fortifications of arguably the oldest castle in England.
Membership and the Initiatory Vow
Membership of the Gorsedd is open to anyone who seeks it, though in extreme circumstances it can be revoked by the Grand Bard/Druid Chair, traditionally by a symbolic drawing of the ceremonial sword, which is never unsheathed for any other reason, being a symbol of peace. Membership is free and informal. Prospective bards of the Gorsedd are invited to thrice repeat a vow (which is a vow only to themselves, not to anything or anyone else):
“I speak my own truth
In respect and love, I live
Inspiration I will seek
Inspiration I will give”
Our Spiritual Patron
The Cornish Gorsedd make a call to Arthur, the once and future king, during every ceremony. Inspired by this, but wishing to put a Devonian slant on things, we have adopted Sir Francis Drake as a spiritual patron and protector-figure. We are not so much concerned with the historical Drake (although that’s also very interesting, although more controversial, as he took part in the slave trade which is something we would not wish to condone), but with the archetype which he represents. On this level he embodies exactly the same qualities as Arthur- he saved the nation from invasion, according to legend he will also return to defend us if the need arises (Check out the legend of “Drakes Drum” which was believed to sound at the onset of the First World War), and his name means “dragon” as in Pendragon. He also had strong links to Exeter, so seemed the ideal choice.
Funding and Constitution
The Bardic Chair and Gorsedd are non-profit making, and at this stage, despite having a strong and clearly defined ceremonial structure, have a very informal constitution, with something of a bohemian and “underground” character to it. The role of the Grand Bard/Druid Chair is to lead the gorsedd and ensure that it remains true to the bardic tradition, though there is plenty of scope for originality- each bardic chair has evolved in its own unique way. However, particularly in the early stages, the Druid Chair is expected to keep a strong hand on the tiller and remain as a “benign dictator” until the gorsedd is sufficiently established, at which stage it can develop into a more democratic organisation with a Chairman, Treasurer, Secretary, designated bank account and so on. It may also take on a more mainstream, quasi-civic profile.
So far all expenses have been met by the current Druid Chair himself, and the gorsedd is in financial deficit. Donations are welcome and some funds have been raised through sale of books and entry fees to the last competition, though proactive fundraising has not been a high priority to date. Accounts have been kept and are available for inspection by any prospective donors.
Ceremony
This is, almost literally, a movable feast! There are various components that we can use in any given ceremonial gathering. They can take place outdoors (preferably barefoot) in an “open” circle, or, particularly, for the actual poetry competitions, a more formal indoor “audience and stage” arrangement is entirely appropriate.
A call to Drake (in the same way that Gorseth Kernow call to Arthur), the triple chanting of the Awen, and triple call “First do we have peace?” by the Swordbearer are all excellent (but not essential) ingredients. These can be further embellished by the mass singing of “Jerusalem” and the passing around of bread and “wine” to the assembled throng. This would also be given as a symbolic offering to both the divine (“above”) and the genius loci (below).
The liquid libation should either be something appropriately Devonian such as Buckfast Tonic Wine, Plymouth Gin, local mead, cider or ale, or Whiskey (which has the same etymology as Wyse/Wysge/Isca and Exe!). It’s also nice to offer a non-alcoholic alternative so no-one need be excluded.
Ceremonies should be big, bold, colourful and creative. Processions through the city streets are a good way to grab people’s attention. Robes are encouraged for those that have them, and the wearing of predominantly blue clothing is encouraged for those who don’t!
It’s also good to incorporate Morris, Mummers, Musicians and the like.
