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As Anruth, Noble Stream, they had carried a silver branch, and before that — throughout their training — they had carried a bronze branch.

These branches had bells attached to them, so that as the poet strode into the hall to recite a poem or tell a tale, they would be accompanied by the sound of bells — warning the audience to become silent, and summoning the help of the inner realms to ensoul their poem or story.

In Wales and Scotland the training of a bard was similarly rigorous, although with different grades and a different curriculum. Bardic schools formed around a Chief Poet and their attendants.

A good deal of time was spent in learning by rote, to strengthen the memory and learn the fantastic number of tales and poems required of an accomplished bard.

Records from both the Western Highlands and Ireland show that much work was undertaken through the technique we would now term sensory deprivation.

Their accommodation was spartan in the extreme, and much time would be spent incubating poems and seeking inspiration in total darkness.

It is only recently that we have rediscovered, through the pioneering work of John Lilly, the fertile power of the darkness found in the isolation tank.

Their curriculum shows that they were accumulating in memory a vast store of stories and poems. But this was only half their work. They were training to become masters of both Record and Inspiration.

It was only one of their tasks to record the lore, laws and genealogy of the Tribe. Just as important as performing this task of keeping alive tradition and heritage, they were entrusted with coming to a knowledge of the sacred power of the Word — manifest as the ability to become inspired and to inspire others.

To carry the records of the tribe they needed to know the stories and poems which preserved the lineage and the lore of their people, but to be Masters or Mistresses of Inspiration they needed to compose their own poems and tales.

It was for this reason that they practised sensory deprivation, and employed the arts of invocation. Such a training naturally awoke inner powers.

A powerful memory, and an ability to plumb the depths and roam the heights of consciousness in search of inspiration and the creative flame, developed within the bard an ability to see into the future and influence the world around them in a way that foreshadowed the work of the Ovate and the Druid, and which allowed them to carry the spirit of Druidry through the centuries when the light of both the Ovate and the Druid could not be seen in the world.

It is fitting that this first level or grade of Druid training should so encompass both the Ovate and the Druid work. The way in which the word could create, command, nourish, heal, cut through, purify, invoke, unite, provoke, deter and bind was a power that the Bard in their long training came to know and utilise in the service of their patron, their King or Queen, their Druid, and their God or Goddess.

Now that we know something of what the Bards did and how they were trained, we can ask ourselves what relevance Bardic work might have for us today.

Bardism is understood in its widest sense as the development of the artistic and creative Self, and its importance as a foundation for our lives and character and spiritual development is no less significant than it was thousands of years ago, and it could be argued that it is even more essential today than it was then.

The clue to understanding why this should be so lies in the realisation that the historical Bards worked with Record and with Inspiration.

Practising Druidry is about healing this alienation — reconnecting to our past and to the world of nature.

In the Bardic grade we open ourselves to the inspiration of the natural world, and we allow the mandala of the Eightfold Seasonal Cycle to be grounded in our beings.

Working with Record means working with heritage, lineage, and the mythology and stories of the tribe — it helps us reconnect to the past.

The practice of Druidry used to be confined to those who could learn from a Druid in person. It works with the ideas and practices of Druidry in a thoroughly practical, yet also deeply spiritual way.

Working with Inspiration means opening ourselves to our innate creativity. Many of the problems that we suffer from in the developed world result from our suppression and denial of the artistic — in all its forms.

Modern brain research shows that for most of us, our primary mode of functioning comes from the dominant cerebral hemisphere, which mediates the function of analytical thinking.

The opposite hemisphere has less of a say in our current way of living — it is the hemisphere that mediates the synthesising, non-analytic forms of thought and expression: it is the part of the brain considered responsible for artistic expression.

It is generally agreed that to become complete we need to allow both sides of ourselves adequate opportunities for development and expression.

This truth was expressed by the Alchemists and there is a strong tradition of Alchemy within Druidry and later by Carl Jung whose work first began to influence modern Druidry through Ross Nichols.

Jung developed his theory of the personal animus and anima — male and female aspects of the psyche — which for our development need to relate and periodically conjoin.

Alchemists knew of the importance of this conjunction, and they termed it the Mystical Marriage or the Mysterium Coniunctionis.

Our education has, for the most part, concentrated on developing our skills of analytical and mathematical thinking, but when we enter the Bardic Way, we begin a process that develops our less dominant hemisphere.

We open ourselves to the artistic, the creative self. This is no simple task, and in a way typical of Druidry, the work is undertaken in an apparently round-about way.

Through working with the eightfold festival scheme, and with the power of the four elements that are allocated to the cardinal points in the sacred circle of Druid working, the Bard is brought to a stage where they have acknowledged and worked with the four aspects of their being — represented by Earth, their practicality and sensuality; Water, their receptivity and feelings; Air, their reasoning; and Fire their intuition and enthusiasm.

As these four elements and parts of the Self are explored and harmonised, the Bard finds him or herself naturally opening to their inner creativity.

Gradually the resources of their body and heart, mind and intuition become more fully available to guide and inspire them.

By working in this way, we learn to by-pass the rational mind, which so loves to create limits to understanding.

To be able to operate, the intellect creates distinctions, categories, mental constructions — through which experience can be comprehended and acted upon.

This is essential for our survival and progress in the world. The problems arise when this ability to create frames of reference is not counter-balanced by the ability to transcend these frames and open oneself to the trans-rational — the inexplicable-in-words-but-no-less-true.

Poetry and music are supremely competent at helping us to go beyond frames and viewpoints. Sound — spoken, sung or played — stretches our boundaries, opens horizons, invokes energies that the intellect alone cannot grasp or categorise with its workings.

Here is the power of the Bard — to dissolve our boundaries, our frames of reference — even if only for a moment. Fathomless unknown, Behind and in everything — Valley — kestrel — celandine: You nowhere, and in everything —.

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MILF gets fucked in the ass by large dick. In Wales and Scotland the training of a bard was similarly rigorous, although with different grades and a different curriculum.

Bardic schools formed around a Chief Poet and their attendants. A good deal of time was spent in learning by rote, to strengthen the memory and learn the fantastic number of tales and poems required of an accomplished bard.

Records from both the Western Highlands and Ireland show that much work was undertaken through the technique we would now term sensory deprivation.

Their accommodation was spartan in the extreme, and much time would be spent incubating poems and seeking inspiration in total darkness.

It is only recently that we have rediscovered, through the pioneering work of John Lilly, the fertile power of the darkness found in the isolation tank.

Their curriculum shows that they were accumulating in memory a vast store of stories and poems. But this was only half their work.

They were training to become masters of both Record and Inspiration. It was only one of their tasks to record the lore, laws and genealogy of the Tribe.

Just as important as performing this task of keeping alive tradition and heritage, they were entrusted with coming to a knowledge of the sacred power of the Word — manifest as the ability to become inspired and to inspire others.

To carry the records of the tribe they needed to know the stories and poems which preserved the lineage and the lore of their people, but to be Masters or Mistresses of Inspiration they needed to compose their own poems and tales.

It was for this reason that they practised sensory deprivation, and employed the arts of invocation. Such a training naturally awoke inner powers.

A powerful memory, and an ability to plumb the depths and roam the heights of consciousness in search of inspiration and the creative flame, developed within the bard an ability to see into the future and influence the world around them in a way that foreshadowed the work of the Ovate and the Druid, and which allowed them to carry the spirit of Druidry through the centuries when the light of both the Ovate and the Druid could not be seen in the world.

It is fitting that this first level or grade of Druid training should so encompass both the Ovate and the Druid work. The way in which the word could create, command, nourish, heal, cut through, purify, invoke, unite, provoke, deter and bind was a power that the Bard in their long training came to know and utilise in the service of their patron, their King or Queen, their Druid, and their God or Goddess.

Now that we know something of what the Bards did and how they were trained, we can ask ourselves what relevance Bardic work might have for us today.

Bardism is understood in its widest sense as the development of the artistic and creative Self, and its importance as a foundation for our lives and character and spiritual development is no less significant than it was thousands of years ago, and it could be argued that it is even more essential today than it was then.

The clue to understanding why this should be so lies in the realisation that the historical Bards worked with Record and with Inspiration.

Practising Druidry is about healing this alienation — reconnecting to our past and to the world of nature. In the Bardic grade we open ourselves to the inspiration of the natural world, and we allow the mandala of the Eightfold Seasonal Cycle to be grounded in our beings.

Working with Record means working with heritage, lineage, and the mythology and stories of the tribe — it helps us reconnect to the past.

The practice of Druidry used to be confined to those who could learn from a Druid in person. It works with the ideas and practices of Druidry in a thoroughly practical, yet also deeply spiritual way.

Working with Inspiration means opening ourselves to our innate creativity. Many of the problems that we suffer from in the developed world result from our suppression and denial of the artistic — in all its forms.

Modern brain research shows that for most of us, our primary mode of functioning comes from the dominant cerebral hemisphere, which mediates the function of analytical thinking.

The opposite hemisphere has less of a say in our current way of living — it is the hemisphere that mediates the synthesising, non-analytic forms of thought and expression: it is the part of the brain considered responsible for artistic expression.

It is generally agreed that to become complete we need to allow both sides of ourselves adequate opportunities for development and expression.

This truth was expressed by the Alchemists and there is a strong tradition of Alchemy within Druidry and later by Carl Jung whose work first began to influence modern Druidry through Ross Nichols.

Jung developed his theory of the personal animus and anima — male and female aspects of the psyche — which for our development need to relate and periodically conjoin.

Alchemists knew of the importance of this conjunction, and they termed it the Mystical Marriage or the Mysterium Coniunctionis. Anal sex at the bar.

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