Monday Music – White Canvas, Lifelines

“White Canvas” is one of my favourite tracks on a-ha’s Lifelines album. It can be listened tohere, but, unfortunately, doesn’t have a music video. But here are two of their videos – the title track from Lifelines, as well as that of their album HuntingHigh and Low. The last one seems especially fitting after all theTellerassar legends.

Maandag Musiek – White Canvas, Lifelines

“White Canvas” is een van my gunsteling liedjies op a-ha se Lifelines album. Mens kan hierso daarnaluister, maar daar is ongelukkig nie ’n musiekvideo vir hierdie liedjie nie. Hier is wel twee van hulle video’s – die titelsnit van Lifelines, so well as die een van hulle album Hunting High and Low. Hierdie laaste snit is veral gepas na al die Tellerassar legendes. 

Die soete liefde en dood

Panthea

Die lied “Ah, alas you salt sea gods” (wat ook “Panthea se treurlied” genoem word) is deur Richard Farrant (1530-1580) geskryf. Die weergawe van die lied wat ek ken is die een deur die Rose Consort of Viols en gesing word deur CatherineKing. Naxos het ’n pragtige CD genaamd ElizabethanSongs and Consort Music*. Dit bevat ook William Byrd se meesterlike en hartverskeurende lief “Ye sacred muses”.

“Ah, alas you salt sea gods” is ’n dramatiese lied en John Bryan verduidelik: “[m]any of these dramatic songs take the form of elegies or ‘death songs’, either evoking death as a relief … or railing against the fate like Panthea…” (Naxos CD-boekie, bladsy 2).

Die lied is Panthea se treurlied met die dood van haar man; wat in ’n veldslag gedood is. Na die veldslag vind sy hom naby ’n rivier op die slagveld, geklee in die goue wapenrusting wat sy net voor die slag aan hom gegee het. Dievolledige verhaal van Panthea en Abradad kan hier gelees word. Hieronder is ‘n opname van die lied, met die lirieke daaronder.

Ah, alas, you salt sea gods!**

Ah, alas, you salt sea gods!

Bow down your ears divine.

Lend ladies here warm water springs

To moist their crystal eyne,

That they may weep and wail

And wring their hands with me

For death of lord and husband mine:

Alas, lo, this is he!

You gods that guide the ghosts

And souls of them that fled,

Send sobs, send sighs, send grievous groans,

And strike poor Panthea dead.

Abradad, ah, alas poor Abradad!

My sprite with thine shall lie.

Come death, alas, O death most sweet,

For now I crave to die.

* Katalogus: DDD 8.554284

** Hierdie lirieke is ook beskikbaar in die Naxos CD-boekie of die Choral Wiki-webwerf.

Of Love and Death Most Sweet

Panthea

The song “Ah, alas you salt sea gods” (also called “Panthea’s Lament”) was written by Richard Farrant (1530-1580). The version of the song I know is that of the Rose Consort of Viols, sung by Catherine King. Naxos has a wonderful CD called Elizabethan Songs and ConsortMusic*. It also contains William Byrd’s masterful and heartbreaking song “Ye sacred muses”. 

“Ah, alas you salt sea gods” is a dramatic song and John Bryan notes: “[m]any of these dramatic songs take the form of elegies or ‘death songs’, either evoking death as a relief … or railing against the fate like Panthea…” (NaxosCD booklet, page 2).

The song is the lament of Panthea at the death of her husband who was slain in battle. After the battle she finds him on the battlefield near a river in the golden armour she had given to him just before the battle. Cradling his mutilated body in her lap, she cries and laments at his death. The complete story of Panthea and Abradad can be read over here. Below is a recording of the song, with the lyrics underneath.

Ah, alas, you salt sea gods!**

Ah, alas, you salt sea gods!

Bow down your ears divine.

Lend ladies here warm water springs

To moist their crystal eyne,

That they may weep and wail

And wring their hands with me

For death of lord and husband mine:

Alas, lo, this is he!

You gods that guide the ghosts

And souls of them that fled,

Send sobs, send sighs, send grievous groans,

And strike poor Panthea dead.

Abradad, ah, alas poor Abradad!

My sprite with thine shall lie.

Come death, alas, O death most sweet,

For now I crave to die.

* Catalogue: DDD 8.554284

** These lyrics can also be found in the Naxos CD booklet or the Choral Wiki webpage. 

Worldbuilding Wednesday: Alaila’s Daughters, part 2

The first part of Alaila’s Daughters can be read here. The first of the Tellerassar legends can be found here, and more about the Tellerassar can be found here.

Or, head over to Kammastories, where the story is postedtoday in full.

Alaila’s Daughters are Scattered

Ikaira did not leave the riverbank even when the sun rose towards its zenith and all his tears were spent. Only when the sun lit the waters of the gorge from above did he see movement in the water. It was Alaila. She wore a dress the colour of the shadows of the deepest pools and her eyes brimmed with tears. Ikaira rushed to the water and embraced her.

“Where is Lamira?” he asked, for he did not see his daughter who usually followed her mother everywhere.

“She is safe in our halls,” Alaila said and motioned towards the wall of rock from where the waters of the river flowed. “Hidden there we can all be safe. Dalath and her kin do not know of this place. We have left them to roam about the river to the south. They have twisted our Gift.” Tears flowed from her eyes. “My gift. I was a fool to think that such a gift could not be twisted to serve the Lewjan.”

They walked hand in hand along the river – Alaila lightly stepping in the shallow water; as far as she could venture out while the moon wasn’t full, and Ikaira walking along the bank – while Alaila told him all that had happened while he had been away.

“War still rages between the people of the Midlands,” she then added. “Markus leads raids to the river towns and villages nearly every week. They have even ventured to the northern bank where they have gotten a foothold. I fear for the safety of my people. With the Vídolf’s involvement we will only be seen as another enemy even though we serve the Light. I do not see a way out for us. We cannot hide in our halls forever even if they are safe. Some have left the river at night to look for other pools and streams. We do not know if they are still alive.”

Photo: Sias van Schalkwyk

Ikaira thought for a long time before speaking. “There is one way. The lands gifted to the Tellerassar are safe. No one can attack our houses on the cliffs.” He took a deep breath, remembering all that had happened to him while in the service of Markus. “I have men to spare – warriors and soldiers who can keep you safe. We can fly over the river and keep an eye out for any of the Vídolf.” Alaila wanted to protest, but he would not let her. “We can fly out of the range of Markus or anyone else’s arrows. We are as safe high in the air as you are in your stone halls.”

And so it was that the Tellerassar took to flying above the water, calling to each other over distances, as they watched the actions of the Vídolf closely. It was these Tellerassar about whom the first legend was told and each eagle people saw were thought to be Ikaira still searching for his lost love. And it was these Tellerassar – who were skilled fighters and had knowledge of both the northern and the southern parts of the Midlands – that became Keepers, aligning themselves with both Théotriewe and Holt Haliern. Tiriane, who played a notable part in the story “A Dragon’s Freedom”, was one of these Tellerassar.