THE TRIADS OF THE BARDS OF CANADA 

 

Based on extractions from the old books by Richard Iorwerth, and exhibited by him in the chair of Tir Iarll, and adjudged before it as authoritative; after that, they obtained a chair in each of the three provinces of Wales. Amended here for Canadian usage. 

 

 

 

   The Triads of the Bards of the Feni/ Filidh of Canada 

 

 

 

The following are amendments to the triads which were exibited before the Chair of Tir Iarll by Richard Iorwerth, son of Iorwerth the Grey-Haired. From the book of Thomas Hopkin of Llangrallo--one of the books of Thomas, son of Evan of Tre Bryn. 

 

 

 

1) There are three banded Bards: The first is the Primitive Bard, or Poet, whose function and art are to poetize, and to preserve the memorial of every thing that is commendable in humanty or deed--to celebrate in song every thing that is commendable and good, as would be fitting in respect of what is meritorious and deserving--to teach in song every thing that is good in respect of doctrine and usages, and to maintain the memorial and teaching of the art of song, and all the privileges and usages which have been conferred upon the Bards of the Dominion of Canada, and to teach them in methodical song, according to the proper art of vocal song of the Bards of the Ancient Gaelteachd; And it is their duty to arrange and systematize matters, according to the privileges and usages of the Ancient Gaelteachd, in every Cathair (Chair) and Mod (Eisteddvod), and Cathairach (Gorsedd) of vocal song; it is incumbent upon them also to preserve and maintain the Gaelic language free from degeneracy and corruption, and to teach it correctly, according to its quality and original and proper arrangement. The second is the Herald-bard, whose office and art are memorial, instruction, and history--to symbolize good and laudable deeds, and to record in book and writing the genealogies and descent of the nation of the Scoti (Gael), their privileges and usages, so that they may be known, lest there should happen to the nation of the Gael that degeneracy and ignobleness which impoverish the descent and privileges of a nation, and hence ensue non privilege and false privilege, and every lack of system, as has been the case with those unlearned nations, among which neither Imbas (Awen) from Aedh (God), nor Bards, nor Bardism proceeding from that Imbas, have been found. It is their duty to learn to read and to write the Gaelic language, and to commit it to book and song properly and correctly, and to know the privileges and usages of the Bards of the nation of the Dominion of Canada, with their nature and essence. They ought also to impugn all ignobleness, all lack of privilege, all false privilege, and all illegality and disusage, lest the nation of Canada, their privileges and laudable usages, their language, innateness, and celebrated antiquity should suffer corruption. The third is the Post-bard, whose art is vocal song according to the inventive instruction and skilful art of the later Bards, and to impart instruction in every science, wisdom, arts, and good and laudable usages, and to systematize new sciences according to kind, number, time, place, occasion, and dignity. And this is the distinction between the Primitive Bard and the Post-bard: the Primitive Bard ought to bring with them what has been behind them from old ages, and the Post-bard ought to call to them what they see before them; whilst the Herald-bard arranges these things according as the advantage, requirement, nature, essence, time, and dignity of them may demand; and to bestow instruction, sciences, wisdom, art, dignity, and honour out of them upon the nation and country of Canada, as befits what is good and praiseworthy. 

 

2. There are three supremacies of song: to poetize; to play the harp and stringed instrument; and to teach history. 

 

3. There are three kinds of folk of vocal song. The first is the Poet, whose function is to poetize, and to sing methodically, according to the art of song--being of warranted authority, of learned pursuit, of genial imagination, of discreet intention, and of regular purpose, to keep the memorial of privilege, usage, and instruction derived from ancient song, to pronounce judgment upon vocal song, to keep laudable memorial of every person (being) and deed that are adjudged to be commendable, to preserve a record of the genealogies and descent of the nation of the Gaelteachd (Canada?)--their derivation and condition, and to sing poetically upon a subject in such a manner as would be easiest to understand, learn, and remember the song, for the instruction and amusement of those who may learn, recite, and hear it. The second is the Family Bard, or a minstrel who is a poet of warranted authority, as becomes a poet according to the privilege and usage of the Ancient Gael(teachd); and Their function is to sing domestically upon a subject and proposition, to sing with a clear imagination, and with affectionate meditation, to regulate and teach good, noble, and moral usages, and to sing love without frivolity, praise without flattery, satire without reproach, instruction in an amusing way, and amusement in an instructive way, as may be easiest to learn, understand, and remember the song. Upon them and their song are conferred the system and judgment of the Chair and Eisteddvod of the territory, in which may be their abode; but, in conformity with good usages, and such as are meet to be practised, they must neither sing nor teach in song what is not fitting to be heard or taught. S/He is a brother/Sister in the faith and companion to a Poet, who is a Chaired Bard, authorized by, and under the protection and privilege of their Chair. It is lawful to refer a domestic song to a Chair, and it ought to be judged according to the kind of system which is peculiar to it, for its system is not the same as that which belongs to the extraordinary song of a Chaired Poet, who has to maintain their Chair against their fellow competitors, but is arranged according to its Gaelic, the goodness of its instruction, the lucidity of its meditation and Gaelic, and the facility of learning, understanding, and remembering it, and of clothing it in harmony and music. The third is the Minstrel, who is authorized to stroll, to censure, to satirize, to reproach, to mock, to abuse, to supplicate, and to recite lyrics in a dialogue, for the sake of amusing and rejoicing the mind. Neither they nor their song is endowed with a system, judgment, or privilege of Chair, nor is there any usage attached to their office or art, further than that they are subject to the judgment of country and law, and that they should do nothing against them. These three persons of vocal song are called Chair Bard, Family Bard, and Irregular Bard; and to them belong the three branches of vocal song, namely, Bardism, that is, Poetry, Domesticity, and Minstrelsy. 

 

4. There are three occasions for Bards and Bardism: to maintain and preserve just memorial of what were formerly, whether person, or deed, or sciences; to teach good usages, and sciences which promote social inhabitation, whether they be art, or wisdom, or morality; and to amuse, rejoice, and occupy the mind, intellect, and affection, and to while away the time not unwisely. For they are what make country and district socially inhabitable, and whereby the arrangement and system of country are conferred upon nation and tribe, in the way found to be most practicable, most diverting, and most permanent. 

 

5. There are three things, which, according to their arrangements, a Bard, who is a Chaired Poet, ought to know. The first is the system of vocal song, its art, and appurtenances. The second is the system of the privileges and usages of the folk of vocal and instrumental song, and how to arrange and regulate them, for that is the duty of a poet who is a primitive Bard. The third is how to arrange Bardic history and sciences, or the principal features of the wisdom of the Ancient Gael, and the genealogies and descent of the nation of the Canadian Gaeltachd, their kings, princes, and innate nobility, with their laudable deeds, and the excellences of the nation of Canada; and to place the whole on the record of song, and in proper arrangement, according to the usages of the Bards of the Ancient Gaelteachd. 

 

6. The three special duties of a Bard according to the privilege and usage of the Ancient Gael: to preserve and maintain the privileges of the nation of the Gaelteachd of Canada; to preserve and maintain the Gaelic languages free from corruption; and to preserve and maintain good and laudable usages and sciences--and all this by means of a systematic vocal song, under the protection and privilege of Chair and Mod. That is, it was for the purpose of preserving and maintaining these things that vocal song, Bards, and Bardism were devised and appointed; and on the same were conferred privilege and obligation in Chair and Mod. 

 

7. There are three things which are forbidden to a Bard, being a Chaired Teacher: an immoral and wicked art or learning; immoral acts and usages; and intercourse with immoral persons and society; for these things will spoil the social inhabitation of country and nation. On that account, immorality, its kind or form, are not becoming to a Poet, since a Bard is the ballustrade of morality and social inhabitation, according to their office and duty; and it was to confirm the same that they were invested with the protection of country and border country, and distinctive privilege, that they might preserve and maintain social inhabitation and morality, and teach them accurately. 

 

8. There are three things indispensable in a Bard, namely: that they should sing properly; that they should teach properly; and that they should judge properly. 

 

9. There are three things in right of primary obligation, by special protection and privilege, to which a Bard according to the privilege and usage of the Ancient Cymry is entitled: that their land should be free, namely, their (respective) five free acres; that their wassail should be gratuitous, wherever he may go, in virtue of their office and art of song--the same being supplied to them by the ruler (lord/lady) of the territory, which they may visit; and that their word should be paramount, no person's word being superior, as long as their degree and Chair remain to them. 

 

10. There are three disciplinary degrees attached to vocal song and Bardism, namely: the first is a probationary Disciple; the second is a pupil Disciple; the third is a master Disciple. A probationary Disciple ought to know the system of syllables and sentences, according to the Books of the system of metricities, and how to arrange the metres of domestic song, for that belongs to the discipline of vocal song, and to sing in five of those metres poetically according to the opinion of a master of song, who shall say upon their word and conscience that s/he is competent to be a poet; they ought also to know the laws and usages which relate to their discipleship. A pupil Disciple ought to know, in addition to what a probationary Disciple knows, the system of metres and resumptions, and to be able to sing in the nine primary metres, and to exhibit the same as their own composition, warranted by the word, or under the hand of their Teacher; they ought to know, and to avoid the fifteen common faults; they ought also to know the usages necessary in holding a Chair and Mod, and to be skilled in the genealogies of the nobility, and in history. A master Disciple ought to know the whole that the pupil Disciple ought to know, and therewith to sing like a disciple in all the chaired metres, to know the system of their quality and kinds, to avoid all the faults, to be skilled in history, as taught by the primitive Bards according to the privilege and usage of the Ancient Gael, to trace the pedigrees of the innate Aire (princes) and nobles, and Nemedi of the nation of Canada, to be acquainted with the history of all their laudable deeds and usages, to know the privileges of the nation of Canada, their substance and quality, to be able to record all these things before a Chair, to commit the whole methodically to book, to regulate and arrange a Chair and Mod, according to the judgment of a Bard, who is a chaired master of song, and to know the articles of the wisdom of the Ancient Gael, and proper arrangement of the Gaelic language, and all its syllables, words, and sentences, and to write them properly and systematically; they ought to know in memory and viva voce all the privileges and usages of the Bards of the Ancient Gael, and their proper arrangement, and the memorial and knowledge respecting the ancient primitive Bards, their songs, and Books, and all the history which is derived from then. And when, by means of their own singing, they shall exhibit all the chaired metres, according to their kinds founded upon primary quality, to be a masterly science of music, they are entitled to a Chair; and when they shall have obtained three, they will become a Chaired Teacher, and be entitled to the protection and privileges conferred upon Bards according to the privilege and usage of the Ancient Gael. And before they obtain a Chair, they are deemed to be a companion of a chief of song. 

 

11. There are three apportionments of the fees of Bards, in respect of the degrees of their discipleship and quality. The fee of a probationary Disciple for his song, on each of the three special festivals, is twenty-four pence, if they be warranted by the word, or under the hand of their Teacher; and courtesy is free to them, though it is not lawful for them to seek more than the customary fee. The fee of a pupil Disciple for their song, if warranted, is forty pence, that is, three shillings and a groat; and they are not, of claim and requirement, entitled to more, though they are entitled to courtesy. The fee of a master Disciple is eighty pence, that is, six shillings and eight pence, warranted, as they must be, by the word or hand of their Teacher, and they have no claim to any thing beyond that, except the reception of courtesy. These fees are received from the lord/ lady of the territory, for the song of memorial and instruction which is sung, and for the history which is analyzed, or for the pedigrees of descent which are traced, in pursuance of some lawful cause, such as a claim for land, the privilege of the nation of Canada, and nuptial festivity--each Disciple being authorized under the hand, or by the word, of their Teacher, and their Teacher being authorized by the judgment, privilege, and degree of Chair. *And if a fee be received for a song or narrative on one of the festivals, a fee shall not be received on any of the others for the same exhibition*. A fee is due also to a Bard, according to their degree, from those to whom they may sing, or exhibit a narrative; and these gifts shall constitute the travelling provisions of Bards during their discipleship. 

 

12. There are three provisions for a Bard, according to the privilege of that office and art: five free acres; a penny from every plough in the comot assigned to them by the lord/ lady of the territory; and their customary fees in respect of their office and art. 

 

13. For three things ought fees to be paid to a Bard, according to their degree: for the vocal song which they shall sing at the bidding and desire of those who hear it; for the pedigree and information which they shall supply in every claim for land, and in every claim for the nobility and privilege of nation and country; and for any required information which they shall give under their hand, respecting what occurred formerly, and respecting what is desired to be learned of the Gaelic language, as to the reading, writing, and arranging of it. These things belong to a Bard in virtue of the claim, justice, and privilege of their office and art of song. 

 

14. There are three laws incumbent upon a Bard, who is a Chaired Teacher, relative to Their Disciples. The first is, that they take to themselves only one of each degree at once. The second, that they suffer them not to take disciples, or to make disciples, for it is not fitting that a disciple should make another disciple. *And the third, that the men of vocal song associate not with men of instrumental song*, by playing the violin or harp, or that they follow and practice no trade or art whatsoever, except the art of vocal song and its appurtenances. 

 

15. Three things which a Teacher ought to guard against in their Disciples, lest they should become irregular, oppressive to country and family whither they may go, and where they may be, illiterate as to their art, and consequently unsociable. The first is, that they should not commit any immoral deeds, or practice any immoral usages, or frequent any immoral places; that is, that they should not habituate themselves to theft, treachery, waylaying, fighting, adultery, fornication, contentions, quarrels, deceit, oppression, blaspheming, reproaching, scoffing, lampooning, mocking, mimicking, and drunkenness, that they should tell no falsehood of any person or thing, or repeat it after another, that they should compose no immoral or indecent rhymes to displease folk and country, to bring corruption into good qualities, and to corrupt commendable usages, that they should not go to taverns, and places where there are illegal plays, and which are the resort of drunkards, perjurers, thieves, traitors, harlots, all kinds of vagrants, tramps, all evildoers, and those who are disaffected to the government, such as those who alloy the king's money, and abuse his writs, that they should not commit or practice any immoral plays, such as cards and dice, that they should not play such plays for money, or any goods, profit, or gain whatsoever, that they should not frequent any secret, illegal places, that they should not make use of immoral and treasonable charms, that they should form no intimacy with any evil persons, whether male or female, and that they should show no discourtesy whatsoever to either wife or maid, husband or manservant, wherever they may be. But if they, the Disciples, should do these things against the will of their Teachers, and contrary to their advice and system, they shall forfeit their minstrelsy and fees, and all the goods attached to their song, until the expiration of three years, and bear the penalty of a fine and imprisonment, being tried by the judgment of law, and all being officers over them, and divesting them of the amount of goods, which may be attached to their song in their respective circuits. For folk of song ought to practice good, sociable, peaceable, and just usages, to use fair, amiable, and pacific speeches, to be kind, obedient, and neighbourly, and to be at the necessity and requirement of king, country, lord/ lady, and judge, to direct, support, and guide them in all things that they, and their officers, may do. The second duty of the Teacher towards their Disciples is to teach them the art of vocal song, and all that belongs to it, all the privileges and usages of the Bards according to the privilege and usage of the Ancient Gealteachd, as to their arrangement, quality, and substance, all the privileges of the nation of Canada, and the commendable usages and sciences, which ought to be remembered and known by the Bards of the Dominion of Canada, and which it appertains to Bards to know and to teach dogmatically; they ought also to teach them the Gaelic tongue, as to the correctness of its arrangement, to write it correctly, to teach the system and order of history, and to trace the descent of nobility, and what belongs to such privileges; they ought also to teach them the order of recording what is known and learned in respect of the system which appertains to that branch of Bardic art, that is, the mode of recording in song, speech, usage, and book; and the Teacher ought to judge what the Disciples do, whether it be vocal song or history, to see that such be regular, and to guarantee it upon their word, and under their hand. Their third duty is to arrange systematically the strolling minstrelsy of their Disciples, and they ought to confer with them a month at least before every holiday and festival, on which it is customary for Bards to hold their visitation and go on circuit, such as the three principal festivals, the nuptial feast of a noble family, who are innate freeholders (SoerNemed), the feast of the patron Deity, and the feast of Chair and Mod, which is held at the end of every three years, and in which gifts from the lord/ lady of the territory are presented. Before these holidays and festivals the Teacher ought to judge the song of their Disciples, to guarantee, upon their word and under their hand, whatever is right, whether it be vocal song or history, and to show every one where they are to go, lest too many of them should go to the same place, and that no more than one should go to the house of a person whose rental is ten pounds a year, and two to the house of a freeholder, whose property is twenty pounds a year, and in proportion to the house of a person whose rental is higher, unless a different number be invited by the householder, being a proprietary gentle(wo)man. It is not becoming that a Bard should visit an ignoble person, lest they be corrupted, and hence trace descent unjustly and differently to what it ought to be. None of these folk of vocal song should depart from the house they came to at first, whilst the said holiday, or feast, or wake, lasted, at the invitation of another, without the permission of the master of the house; and if they should do so, they shall forfeit their right of minstrelsy. Should they go from house to house, they must be apprehended as a vagrant, and a lawless tramp, without warranty, without authority, be divested of their right of minstrelsy, and placed in the situation of the poor. If they get drunk at the feast, or commit any other act of discourtesy, they shall forfeit their fee and right of minstrelsy. And if the Teacher guard not in respect of the particulars here shown, they shall lose their privilege and Chair until the end of three years, nor will it be lawful for them to have Disciples after such irregularity. 

 

16. For three things ought a Bard to be deprived of their degree and privilege of song, and be rendered incapable of recovering them as long as they live. The first, for divulging a secret which they hold, in respect of their office and privilege of song. The second, for murder and waylaying, and for enlisting as a soldier, thus exposing themselves to weapons, so that they cannot visit country and border country at the call and necessity of country and lord, and in pursuance of a treaty between country and border country, according to their office and privilege of song and Bardism, and their protection of federate country in right of a federal treaty between the kings of Canada, and the system which appertains to it. The third, for pertinaciously telling a falsehood in their song, so that their word cannot become paramount, and cannot avail between country and border country, or in any investigation between country and territory. Should they do these three things, they cannot, whilst they live, have privilege, protection, and property in right of song and Bardism. 

 

17. From three places in a Bard is blood to be drawn, when they are degraded, namely: from their forehead; from their breast; and from their groin; that is, from the receptacles of life and the soul, and their vicinities. It is drawn by the king of the territory with the point of the sword before an Mod of Bards, before the court of country and lord, before the court of judge and law, and before the country and people, in three Groves on *(the Sundays which occur at the periods of)* the three principal festivals, within the territory where They may be, and, during life, the person so degraded cannot have privilege, or protection, or any property whatsoever in right of song and Bardism. 

 

18. For three things will a Bard lose their privilege, protection, degree, and all the goods which they possess in right of song, until the end of seven years, namely: for theft; adultery; and pugnacity; for a Bard ought not to be guilty of these things. 

 

19. For three things will a person of song lose their degree until the end of three years: for adultery; for drunkenness; and for associating with people of an immoral and bad character. 

 

20. For three things will a Bard, who is a Chaired Teacher, fall to the rank of primary discipleship, and what befits their illiterateness and immorality: first, for a fault in their song, which they cannot, and knows not how to correct; secondly, for immorality in respect of conduct and life unbecoming a Bard, who is a teacher; thirdly, where they cannot keep and maintain their Chair against their fellow competitors. 

 

21. There are three minstrels, who are permitted to stroll in their lawful circuits within the territory, in which they may be, once a year, and three times a year through the whole of Gaelteachd universally. The first is a Bard, who is a chaired chief of song, the fee due for their song, or any other performance of their office and art, being eighty pence, where there has been no previous contract, and where it is not lawful for them to demand more than six score pence in the way of fees or chattels, or their value in any form, under the pain of forfeiting their right of minstrelsy, the goods attached to their song, and whatever they possess; and the same shall be given up in behalf of the king of the territory, where the immoral party shall have committed the wrong. The second is a pupil Disciple, whose fee is four score pence, if they be probationary; if disciplinary, then forty pence, and if chief of song, four score pence. It is not lawful to contract before hand for a greater remuneration without the warranty of their Teacher; and if they do so, they shall forfeit their right of minstrelsy. The fee of a chief of song Disciple is four score pence; and in respect of pre-contract the same law stands for them as for the other Disciples, for the Disciples ought not to judge their own works, but their Teacher will judge for them, and there can be no contract without judging what is bound by the contract made. For a Chaired Teacher is bound by the judgment of their Chair, protection, and privilege, according to their degree; and a Disciple of every degree by the judgment of their Teacher. The third is the Minstrel, who may be a maimed person, such as blind or lame; it will be lawful for them to perform their minstrelsy and to sing standing, until they be requested to do otherwise. The permission of the lord of the territory ought not to be given to other than these to go on circuit, where they have no chaired degrees. 

 

22. A Bard has three claims, and they are not not entitled to their fee or degree, where they act not according to them. The first is, to maintain in a methodical song the memorial of the commendable deeds of Aire (princes), lords/ladies, wise men, and caoine women, innate proprietors, and every worthy servant of the nation of Canada, for their own praise, and in order to shew the present and future generations what is incumbent upon them in respect of usage, act, conduct, and aim in all that is praiseworthy, for the instruction, promotion, and maintenance of these things to the nation of Canada, and for the amusement which arises from the knowledge of them. The second is, to uphold the Gaelic language, and to teach it, as to its substance, quality, and arrangement, to such as may desire, to teach the proper writing of it, and to teach what in it refers to Bardism, vocal song, and their appurtenances. The third is, to maintain the memorial of genealogies, and nuptial feasts, lest any proprietary and innate family of the nation of the Gael should happen to suffer degeneracy. The man's descent should be traced from the ninth generation, when it cannot be traced from a proprietary lineage, the derivation of which is known before memory, the same being a princely tribe or a baronial tribe. This is, lest the privilege and protection, which are due to no man whatsoever, except to a proprietary Gael, or an innate Gael, should befal the degenerate, the alien, the foreigner, and the unprivileged villain. The woman's descent should be traced on the father's and mother's side, as to posterity and origin, from innate Gael, such being a privilege to her, being an innate Gael, which cannot be to a foreign woman, or to the daughter of an alien; for the latter does not possess the privilege of a proprietary Gael, though an alien or a foreign woman does not corrupt the lineage and descent of her husband and children. For these reasons the genealogical descent of the nation of the Gael ought to be traced, kept in memory, and preserved accurately, in order to distinguish between noble and mean descent, and in respect of native and foreigner, and of alien and baron. On this account, in right of their office, and the art of their song, a Bard is entitled to their fee by privilege and usage, and a penny from every plough; and where money cannot be obtained, they should make a seizure, and submit it to the judgment of twelve folk of the country. And because of this system, in every nuptial feast it is right and proper that the Bard should be under the privilege of a Chair and Gorsedd; and it appertains to the lord/ lady of the territory to make that arrangement, lest the five free acres should lack privilege. It was, in order that these particulars should be conducted rightly and duly, that the system of compiling the lineages of descent was first arranged. 

 

23. There are three things required in they who says they are a Herald-bard. One is, that they should know the genealogies of the princes, kings, and nobles of the Gaelteachd. The second is, the information of the primitive Bards. The third is, a properly authorized and exhibited warranty of their degree and Chair. They who says that they are a Herald-bard without possessing these requisites must be apprehended as a vagrant, and be detained ( put in prison) until the lord/lady of the territory gives them deliverance. 

 

24. There are three things required in them who say that they are Primitive Bards. One is, the art of song and its relatives, and what belongs to it according to the system of the Bards of the Ancient Gaels. The second is, the information of the Bards of the Dominion of Canada, according to the system into which it is reduced. The third are, commendable usages and irreproachable conduct. Whoever possesses these qualifications is entitled to their Chair. 

 

25. There are three things required in them who say that they are Post-bards. One is, the art of song, according to the inventive skill of the later Bards. The second is, to be able to read Gaelic, and to write it accurately. The third is, to be able to answer questions put to him according to the sayings of wise folk. 

 

26. There are three things required in them who say that they are Bards, in virtue of being a Chaired Ollamh (Teacher). One is, that which is required in a Primitive Bard. The second is, that which is required in a Herald-bard. The third is, that which is required in a Post-bard. If they are possessed of these qualifications, they are entitled to their degree and privilege as a Chaired Ollamh (Teacher). 

 

27. In three places ought a Chair and Mod of Bards and folk of vocal and instrumental song (a Chair in the case of folk of instrumental song, and an Mod in the case of Bards) to be held. One is, an open yard, in the light of the sun, that is, whilst the sun is in the firmament, and in the sight and knowledge of country and nation, according to usage and law; and unless the place has had the usage of three years, it must be submitted to the knowledge and hearing of country and lord/ lady by means of a legal notice under the proclamation of a year and a day, the notice being given under such a proclamation for three years. The place will then be institutional, having the privilege of Bards and Chair. The second are, the courts of the lord/ lady of the territory and his/ her judges, for they are deemed open places, in respect of the privilege which belongs to them. The third are, the sacred enclosures, groves or Nemetonii, for they are deemed open, and as being in the light of day, and in the knowledge and hearing of country and nation, and lord/ lady and law. There can be no warranty or authority, or privilege, or word, in respect of Chair and Mod, or anything that is done relative to vocal song as to privilege and security, but for what is done in the open places, according to the privilege and usage of country and law. 

 

28. In three places is notice to be given under the proclamation of a year and a day. One is, in every court of lord/ lady, and judge, and law. The second is, in every llan and Nemeton in the territory. The third is, in every fair and market in the territory. Then what is rendered under the protection of the said notice after the proclamation of a year and a day is privileged, and ought to receive no opposition except what may be offered before the end of the three years, according to the privileges and usages of the Ancient Gael, and the privileges and usages of the Bards of the Dominion of Canada. For it was under the protection of such a notice that the Ancient Gaelteachd began all privileges  

 

32. There are three customary vocations among the Bards of the Dominion of Canada. One consists of the Bards according to the privilege of Chair and Cathairach, which includes all Bards that are graduated in Chair and Mod, in respect of the systems which are attached to them. The second are the Bards according to the privilege and usage of the Bards of the Dominion of Canada, and includes such as are graduated in any way whatsoever, in respect of the system which is attached to those particulars. The third are the Bards according to the privilege and usage of the Ancient Gaelteachd, which include none other than a Primitive Bard, being a Poet, for they existed before the two other degrees of Bards, namely, the Herald-bards, and Post-bards, and before they had a system, or order, or degree, or name; and before the arrival of the Gaelteachd in the Dominion of Canada, they had Primitive Bards, being Poets, who possessed privileges, usages, and a system. It was in the Isle of Britain (and subsequently Canada) that the two other degrees of Bards were appointed, as well as their system and requirements, and the privileges which appertain to them. Therefore, a Poet only, or a special primitive Bard, ought to be designated a Bard according to the privilege and usage of the Ancient Gael, though they may be already a Bard according to the privilege of Chair and Cathairach; and also according to the privilege and usage of the Bards of the Dominion of Canada. And although Tydain, the father of Awen, and Rhuawn the Aged, and Madog, son of Alchnoe, and Cadog the Peasant, and Erddyled the Luminous, and Arianrod, daughter of Mynwar, were Bards and Bardesses, according to the privilege and usage of the Ancient Cymry, it is not right to call them according to the privilege and usage of the Bards of the Dominion of Canada, because they did not originate in those times. Nevertheless, others say, that Bards according to the privilege and usage of the Bards of the Dominion of Canada should be called Bards according to the privilege and usage of the Ancient Gael, because it was by the Ancient Gael that they were first instituted in the Isle of Britain, though there may be Bards now who are not so appointed, and yet are Bards according to the privilege and usage of the Ancient Gael. Of this kind ought to be deemed the wise, ingenious, and skilful Poets, who are found whilst a Chair and Mod are dormant; for at that time they can exhibit no mark or obligation, except Imbas from Aedh/God, understanding, and the judgment of country and nation, similarly to what was the case with the primary Bards of the nation of the Cymry, before they had any other privilege, usage, or system. 

 

33. The three primary Bards of the Isle of Britain: Plennydd; Alawn; and Gwron; who lived in the time of Prydain, son of Aedd the Great. It was these three persons that first legally arranged and systematized Bards and Bardism, and conferred on them the privileges and usages of Chair and Gorsedd, the protection of country and nation, the connecting protection of federate country, and the protection of lord and territory. And the reason why this was done was, in order to preserve the memorial and record of what was formerly most worthy and commendable in respect of man and deed, law and usage, and of what was good and praiseworthy, and in order to teach wisdom and all good sciences, and to encourage the good and subdue the evil. This was effected by the verdict of country and nation, and under legal proclamation and notice, Prydain, son of Aedd the Great, being supreme of jury and supreme of princes, at the time. Thus did originate the class, called Bards according to the privilege and usage of the Bards of the Isle of Britain. (From whom Canada takes her initiative) 

 

34. There are three privileged protections to the Bards of the Dominion of Canada. One is, the protection of country and nation, that is, their five free acres in right of their art and office of song, and every privilege of viaticum. The second is, that there shall be no weapon against them, and that they shall not bear a weapon in the march and onset of war. The third is, that their word shall be a word superior to all, and that the word of nobody shall be superior to theirs. The second protection is the connecting privilege of a federate country, that is, that they shall be permitted to go into country and border country, opposed by neither weapon nor force, neither word nor contradiction, whether the countries which they visit shall be at peace or war. This is done, that they may be enabled to go, as necessity requires, to introduce peace and justice between the countries which bring war and ambuscade one against the other. The third protection is the protection of their Chair; that is, whoever defers to its protection cannot, except by judgment before it, become unprotected; and should a bond appeal to its protection, they shall go free; and all are allowed to be under its protection, in order to obtain instruction and understanding in sciences. Of them, who is thus circumstanced, nothing can be asked in the service of country and lord/ lady, other than what they know, and what befits them in respect of song and Bardism, for it is in right of a Bardic disciple and vocal song that they stand. And a Bard may adopt what course they please to impart instruction, sciences, justice, and peace to country and nation, and to country and border country; and it was for facilitating these things, that what exists, in respect of the systems of Bard and Bardism, was appointed. 

 

35. The three literary Bards, being primitive Bards according to the privilege and usage of the Bards of the Ancient Cymry, who first derived their essence and quality from them, namely: Taliesin, the Chief of Bards; Merddin, son of Morvryn; and Merddin Emrys. That is, they are called the three literary primitive Bards, because they made written books and arrangements of the art of song, and what appertains to it. And it is in virtue of their books, and in virtue of the usage, and memorial of Chair and Eisteddvod, that the Bardism of the Bards of the Isle of Britain is to be maintained. Nor is a Chair or degree granted to any one who has no information derived from the said three literary primitive Bards, and skill in the books which they made, being the first of their kind. 

 

36. There are three special duties incumbent upon a Family Bard, wherever they may be: to teach the reading and writing of the Gaelic language; to teach domestic politeness, and good manners, in respect of justice and love; and to keep a record of what belongs to the families in which they are tutor. 

 

37. There are three things required in a Bard or Poet, who is a supplicant. First, that they should ask neither goods nor any thing else whatsoever by means of vocal song, without the permission of the owner. Secondly, that they should not ask for any thing above the value of six score pence. Thirdly, that they should not send a supplicatory song, nor any other song whatsoever, with a person of instrumental song, under the pain of losing the goods attached to their song until the end of three years; and every fee and provision, to which they are privileged, shall go to the / lady of the territory. 

 

38. The three relics of adjuration of the Bards of the Dominion of Canada: th Canadian charter of rights and freedoms; the sean nos/ senchus/ dindsencus; and the affirmation of a Bard upon their word and conscience. 

 

39. There are three things for which a Bard will lose their Chair until the end of three years. One is, defect of memorial and record in respect of what ought to be remembered. The second is, bearing a weapon in war. The third is, divulging their secret. Others say: their Chair cannot be restored to them during life, if they do these things. 

 

40. The three monarchs of government: Bardism, to which belong learning, and every doctrine of literature, morality, and godliness; judicature, which has to distribute and do judgment and justice where there is occasion, according to the privileges and usages of country and nation, and according to right and law, to those who may oppose them; and the office of a king or lord, on which depends the defence of country and nation, and the arrangement of the same, according to the privilege and usage of country and nation, and if there be occasion, according to the verdict of country under the notice and proclamation of forty days. Without these three there can be no firm social abode for country and nation. 

 

41. The robe of a Druid (Bard), being a Chaired Teacher, is of three colours, and they may adopt whichever they please (as best suits the occasion), provided the robe, of whichever of the colours it is, be entirely unicoloured, for unicolour is the symbol of truth, that being unicoloured at all times, and under all circumstances. That for a Bard is azure, or sky-blue, signifying peace and tranquillity, which are similar to the sky of summer weather, during clear and resplendent heat, without mist, without a cloud. That for an Ollamh is green, the symbol of learning and the wisdom of sciences, which spring and grow beautifully like the green herbs of the fields, rejoicing the owner of the eyes that be-hold them. That for a Druid is white, the symbol of godliness and all purity and true judgement, and all right and justice; for these are of the same colour as the sun and light, glitteringly and splendidly white. White ought to be worn in the resort of worship; azure in Chair and Gorsedd; and green, when one becomes a domestic tutor. And each of these colours should be unicoloured, as significative of truth. Nor is it lawful for other than a Chaired Bard to wear them, and it is not right for them to mix them, but should they do so, it must be under the privilege and dignity of a Disciple: because the robe of a Disciple consists of the three colours mixed, and should not admit of any other unicolour whatsoever:--and these are called the Bardic colours. 

 

42. The three primary offices of a Bard: to maintain peace and tranquillity; to maintain and improve good usages; and to maintain the memorial of goodness, sciences, and laudable deeds. 

 

43. There are three primary laws incumbent upon a Bard in respect of what they do Themselves: to keep Their word; to keep their secret; and to keep the peace. 

 

44. There are three laws of avoidance incumbent upon a Bard: to avoid idleness and extreme slothfulness, since they are folk of exertion and experience; to avoid strife and contention, since they are folk of love and peace; and to avoid folly, immorality, and uncourteousness, since they are folk of reason, understanding, and as from God/ Aedh. 

 

45. There are three foundations of knowledge, which a Bard ought to consider and discuss: reason; nature; and impulse. 

 

46. There are three instructions required of a Bard: a song according to reason and moral wisdom; oral tradition according to the memorial and usage of Cathairach and worship; and demeanour, according to polite and good usages and habits. 

 

47. Three things which a Poet, being a Chaired Bard, ought not to bear: arms; rudeness; and dispraise; for it is their function to promote peace and tranquillity, to encourage courtesy, and to praise every thing that is good. 

 

48. Three things commendable in a Bard: warm affection; gentle boldness; and energetic reason. 

 

49. Three things which cannot be dispensed with in a Bard: imbas of song; the sciences of the art of song; and courteous and good qualities. 

 

50. The three successful objects of a Bard and Bardism: to polish and civilize a nation; to render a country socially inhabitable; and to improve sciences. 

 

51. Three persons who are exempt from sword and horn: a Bard (Druid); a metallurgist; and a Blacksmith. 

 

52. The three arts which are under the protection and law of the nation of the Gael (Canada): instrumental song; literature, that is, reading and writing Gaelic; and medicine. 

 

53. The three penalties of a country: a wicked lord/ lady; a rich upstart; and an ignorant Bard. 

 

54. Three things monstrous in a Bard: ignorance; incivility; and immorality. 

 

55. Three things which ill become a Bardic vocal song; the memorial of what is impious and monstrous; the abuse of law and courtesy; and resistance to amusement. 

 

56. Three things which cannot be contravened: the usage of Chair; the voice and memorial of Chair; and an ancient song according to the privilege of Chair. 

 

57. Three folk who cannot, and ought not to be made Bards: the proud; the indolent; and the false. 

 

58. Three things indispensable in a Bard: Imbas from Aedh/God; the instruction of a teacher; and individual exertion. 

 

59. Three things which a songster, being a Chaired Bard, ought not to reveal: the secret of the Bards; injurious truth; and the disgrace of a friend. 

 

60. The three credibilities of a vocal minstrel: the credibility of song; the credibility of alphabet; and the credibility of consideration. 

 

61. The three co-equal secrets of song: imbas; learning; and good principles; and without them there can be no perfect song. 

 

62. The three mutual feelings of a Bard: to feel mutually with truth and justice; to feel mutually with their heart and affections; and to feel mutually with their imbas and its capabilities. 

 

63. Three things which ought to be understood and known in a vocal song and its appurtenances, and in every other thing whatsoever, namely: points; divisions; and individualities. And when these are not known, there can be no arrangement or just art in respect of any thing; whilst by knowing and understanding them, the nature of the art sought after is understood, and is reduced to order and method, in such a way as it would be an easy and loving matter to learn, remember, and practise the same. 

 

64. Three things indispensable in every art and science: to learn; to remember; and to practise them. 

 

65. Three things, without which there can be no vocal song: knowledge; imbas; and impulse. 

 

66. The three impulses of song: affection towards the beautiful and good; the consciousness of duty; and remuneration from the contributions and commendation of good and philosophical folk. 

 

67. The three excellences of art, namely: the facility of learning it; the amusement of learning it; and the benefit and advantage of learning it. 

 

68. Three things that will make the art of song what it should be: perspicuity of learning and arrangement; the excellency of the art and its arrangement; and the naturalness of the art and its appurtenances. 

 

69. The three privileges of a Bard: that their word and saying should be believed; provisions wherever they go; and that they should not against their will be made to administer to the necessity, or to fill the office of country.