BARDIC PERSPECTIVE

Ultimately, when you are studying one of the priesthoods, you will notice that they each are individual ways of describing the interactions of the elements making up the Universe. Each one is a perspective.

This is why we recommend the student priest focus on the pattern of the thing, rather than technique. By focusing on the pattern, not only do you learn individual techniques at an accelerated rate by seeing the bigger picture, you can also overlay this understanding onto apparently unrelated issues.

Although I use all three, the Bardic perspective is one I find exceptionally useful. As an example of its use, in delineating social and political interactions (very Druidic) and calendars, I use music and rhythm to help me organize the data.

In relationship to Vatis craft, while eating in a local restaurant, I became very aware of the complex physical rhythm that my body had entered into in response to the popular "new country" music being piped into the dining hall. I am not a big Country fan, but the distinctive hips, pelvis, leg and upper body swaying induced by the music had an extremely pleasing and balancing effect on several nerve systems of the body. This would be particularly true if the exposure to the physical stimulus was extended and unconscious. Each distinctive musical rhythm effects a different system of the body. Therefore, its use in healing is evident.

Celtic Birds

In relationship to Bardic priesthood elements, music and rhythm are obvious components, but the others use the same tools. In the course of my secular work, I write scripts for educational and children's television. My greatest asset in this has been the discovery of a meter/rhythm inherent in "successful" satisfying television viewing which I've translated into melodic sequences. It enables me to predict and predicate emotional responses to the visual and audio impulses I can delineate in real time.

In visual and studio arts and crafts the effect of the meter is less obvious but absolutely necessary. When I paint or draw I know that there is a particular curve or proportional pattern to differing attitudes in a composition. I feel the right line and arrangement. It is well-known that visual art is not an objective duplication of the subject. It's a symbolic representation that communicates the vision of the artist through symbolic imaging in light and color. But its rhythm, metered periodicity was made crystal clear when one uses digital, technological art tools, like computers. A visual art work is a melody or dance in light waves as they interact with the eye and body cycles.

History, too, is defined by he periodic repetition of human social and political behavior. The common thread all of these have had is the core of the Bardic Perspective:

TIMING AND PERIODIC OR WAVEFORM REPETITION.

The Poetry Corner

When I Am Old

When I am old
I will have gnarled tree branch hands
from planting, weaving and sifting
sands
from living, loving, learning much
soft of eye and light of touch

When I am old
I will be wholly wild
and never ever meek and mild
I will do what I feel needful
full of joy and fully mindful
(no matter what "they" say is sinful

When I am old
I will have strong eyes
from the piercing air of other skies
what I've seen will make me strong
with my own sense of right and wrong
and never worry if I 'belong'

    eyes and hands
    weaving strands
    I'd best start now
    so I'll know how
    When I grow old

The Wanderer

Lost
wandering in a forest
of illusion

A man
out of place
and time.

Not knowing
where to go
or who to trust

Behind clouds
shadows of people
pull at him

Possible futures
like fireflies
dance about his head

The earth calling to him
a distant cry
of a mother
whose child is lost

His soul quickens


      Willow the Weaver © 1/14/97

The Journey

Born.. . .
Born of the Cauldron
The Cauldron of Kerridwen

Descendant . . .
Descendant of that Master,
That Master of Words,
Ogmios

Gwydion shows me
Shows me the magic.
Ah! So tempting!
So tempting to use.

I am seen and cared for,
The loving eyes of The Lady . . .
My Lady.
Arianrhod watches,
As I'm thrust into the crucible.

Forged . . .
Forged by fire.
Tempered . . .
Tempered by the skillful hands of Gobannon.

desperate to respond
all is silence

Walls of glass
greatest torments
only sights and sound

With love
the walls are pierced
Hope's promise
in a mother's kiss

Winter ends
the return of the sun

Faded memories
of an age long past
where courage did shine
and hope lived in all

An ancient sadness
following
the pattern makers
of what could be.

      Gwion de Wyder

Through great agreement
The test began.
Such joy!
Such sorrow!

Challenge given.
Challenge accepted.
Given under the guidance wise
Of that Druid of Druids.
The Ancient Druid.

Wisdom gained.
Earned.
For how else will all that must be
Ever come to pass?

Childhood passes . . .
Innocence ends.
To be the man
Growth begins . . .

Amergin is Awake!

    Gwyliedydd 1997

The Dance of the Mantis (Dark Love)

My world is naught,
Soul is ripped,
Caught . . .
Caught in this web
Of unrequited Love.

Your grip is strong . . .
Stronger than
The weakly grasped threads
Of this reality.

Pulling, ever pulling, me to you.

We play the game . . .
The chorus begins.

Few for me . . .
Many for you . . .
All look on in delight
As the contest continues.

Sight is fading, fading fast.

Torment continues . . .
Can't go on.
Lost, alone.
Mesmerized by your knowing stare.

Holy Thistle


Drawn,
As the moth to the flame,
Caring not if I'm consumed.
Driven.
After all,
Isn't that my aim?

Ripped apart, for all to see.
I go willingly,
Blindly,
To the consummation of my desires . . .

Kneeling before you . . .
I wait.
Wait for your precious Coup de Grace.
I shiver with pain and delight,
Your grip tightens . . .
Merciless, unrelenting.

My heart is ripped,
This life ends.
Quickly, quickly, my darling . . .
My darling, my Kali Ma.

Gwyliedydd 1997



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