THE CASTE OF MUSICIANS
Musicians are part of the Singers and Poets; their colors are Aqua and Red.
The ranking of Musicians is as follows:
1) Czehar Players
2) Flutists
3) Kalika Players
4) Kaska Players
5) Man in charge of miscellaneous instruments.
THE MUSICIANS -
The Caste of Singers and Poets can be compared to the Bards of Medieval England who made there way from town to town. They lived off there earnings by singing stories of love, recounting famous battle stories, and recording events with songs to be passed on through generations. By gaining favor in the noble houses of the area. Some were even kept in constant employment to provide entertainment for visiting guests.
The Singer and Poet of Gor, often made his living the same way. He traveled from city to city, hoping to gain favor of a peasant or even the present Ubar himself. They were regarded as craftsman for their art of creativity. He played a vital role in the social structure of Gor by providing entertainment to all levels of the Gorean society.
On Gor, the singer, or poet, is regarded as a craftsman who makes strong sayings, much like a pot maker makes a good pot or a saddle-maker makes a worthy saddle. He has his role to play in the social structure, celebrating battles and histories, singing of heroes and cities, but also he is expected to sing of living, and of love and joy, not merely of arms and glory; and, too, it is his function to remind the Gorean from time to time of loneliness and death, lest they should forget that they are men.
- Outlaw of Gor, pgs. 103-104 -
In spite of some reservations the Poet, or Singer, was loved on Gor. It had not occurred to him that he owed misery and torment to his profession, and on the whole, the Caste of Poets was thought to be a most happy band of men "A handful of bread for a song," was a common Gorean invitation extended to members of the caste, and it might occur on the lips of a peasant or a Ubar, and the poet took great pride that he would sing the same song in both the hut of the peasant and the halls of the Ubar, though it won for him only a crust of bread in one place and a cap of gold in the other, gold often squandered on a beautiful woman who might leave him nothing but his songs.
- Outlaw of Gor, page 104 -
He wore the robes of his caste, the singers, and it was not known what city was his own. Many of the singers wander from place to place, selling their songs for bread and love. I had known, long ago, a singer, whose name was Andreas of Tor.
- Raiders of Gor, page 225 -
The Caste Singers and Poets while highly prized in most cities on Gor were not as high regarded in others. For instance they were not welcomed guests in the city of Tharna. But in other areas of Gor it was a criminal offense to enslave one of the Caste of Musicians.
"The Caste of Poets is not so bad," I said to Linna.
"Of course not," she said, "but they are outlawed in Tharna."
- Outlaw of Gor, page 105 -
Lastly it might be mentioned, thinking it is of some interest, musicians on Gor are never enslaved; they may, of course, be exiled, tortured, slain and such; it is said, perhaps truly, that he who makes music must, like the tarn and the Vosk gull, be free.
- Nomads of Gor, page 154 -
In most cities it is regarded, incidentally, as a criminal offense to enslave one of the caste of players. A similar decree, in most cities, stands against the enslavement of one who is of the caste of musicians.
- Beasts of Gor, page 44 –
SONGS OF GOR -
The songs of Gor varied from place to place as you will see in the following examples. Some were sung as part of tradition, to tell a story, or played for there beauty and melody. It might be noted that they were never written down, but instead passed from generation to generation and master to apprentice.
I might mention, I have never on Gor seen any written music; I do not know if a notation exists; melodies are passed on from father to son, from master to apprentice. - Nomads of Gor, page 153 -
Archaic Hymns - were sung in the temple of the Initiates. They were written and sung in archaic Gorean, an ancient language upon Gor. Often times choirs of soprano male slaves were trained and kept to sing in the great temples.
The litany and responses of the congregation were now completed and the initiates, some twenty within the rail, began to sing in archaic Gorean. I could make out little of the wording. Marauders of Gor, page 33
Block Melodies - was a reference to several different melodies that are performed at a rhythm in which a slave girl was displayed fully for potential buyers. They were powerful and sexually stimulating in there melody.
The reference to "block melodies" had to do with certain melodies which are commonly used in slave markets, in the display of the merchandise. Some were apparently developed for the purpose, and others simply utilized for it. Such melodies tend to be sexually stimulating, and powerfully so, both for the merchandise being vended, who must dance to them, and for the buyers.- Vagabonds of Gor, page 37 -
Blue Sky Song - was a song sung by the Wagon people of the plains of Gor. They began to sing this in part before going into battle at the gates of Turia.
Some of the Tuchuks began to sing the Blue Sky Song, the refrain of which is that thought I die, yet there will be the bosk, the grass and sky. - Nomads of Gor, page 263 -
Caravans of Tor - was a love song played on the kalika about the caravans of Tor.
Her fingers touched the six strings, a note at a time, and then a melody, of the caravans of Tor, a song of love. - Asassin of Gor, page 264 -
The Hope of Tina - was a melody about a young girl who hopes that she may prove acceptable as a slave. It contains an expression of yearning and hope. Its melody is said to be of Cos.
The "Hope of Tina," a melody of Cos which would surely be popular with most of the fellows present, on the other hand, was an excellent choice. It was supposedly the expression of the yearning, or hope, of a young girl that she may be so beautiful, and so feminine, and marvelous, that she will prove acceptable as a slave. -Vagabonds of Gor, pgs. 37-38 -
The Men of Torvaldsland Sing at the Oars - was a song with no words sung by the crew of Ivar Forkbeard's ship as they leave the harbor of Kassau. They had much to rejoice after the successfulness of there mission in the temple of the high Initiate of Kassau.
The men of Torvaldsland began to sing at the oars.
The men of Torvaldsland sang with great voices.
The men of Torvaldsland singing, the oars lifting and dipping, the serpent of Ivar Forkbeard took its way from the harbor of Kassau. - Marauders of Gor, page 54 -
The Ten Maids of Hammerfest - was a rowdy river song sung by pirates as they made there way along the river. It recounted the fates of the ten girls of Hammerfest. It was sang with great enthusiasm and gusto.
On the Tuka the rowers were singing, lustily. They wore an odd assortment of garbs. Insignia has been torn from clothing. Crests had been ripped from helmets, identificatory devices pried from the convex surfaces of shields. It was not a song of Ar they sang, but a river song, a song of pirates and brawlers, "The Ten Maids of Hammerfest," in which is recounted the fates which befell these lovely lasses. I was mildly scandalized that the stout fellows of Ar, soldiers and gentlemen, as Gorean gentlemen go, would even know these lyrics, let alone sing them with such unabashed gusto. - Guardsman of Gor, page 93
A Song of Tarl of Bristol and Glorious Ar - was a song recounting the tale of the events surrounding the story line of Tarnsman of Gor. Describing the deeds of Tarl Cabot and his heroic courage in defeating the Master Assassin Pa-Kur.
I sing the siege of Ar
of gleaming Ar.
I sing the spears and walls of Ar
of Glorious Ar.
In the long years past of the siege of the city
the siege of Ar
of her spires and towers
of undaunted Ar
Glorious Ar
I sing.
I sing of dark-haired Talena
of the rage of Marlenus
Ubar of Ar
Glorious Ar.
And of he I sing
whose hair was like a larl from the sun
of he who came once to the walls of Ar
Glorious Ar
he called Tarl of Bristol.
And, as the torches burned lower in the wall racks, the singer continued to sing, and sang of gray Pa-Kur, Master of the Assassins, leader of the hordes that feel on Ar after the theft of her Home Stone; and he sang, too, of banners and black helmets, of upraised standards, of the sun flashing on the lifted blades of spears, of high siege towers and deeds, of catapults of Ka-la-na and tem-wood, of the thunder of war tharlarion and the beatings of drums and the roars of trumpets, the clash of arms and the cries of men; and he sang, too, of the love of men for their city, and, foolishly, knowing so little of men, he sang, too, the bravery of men, and their loyalties and their courage; and he sang then, too, of duels; of duels fought even on the walls of Ar herself, even at the great gate; and of tarnsmen locked in duels to the death over the spires of Ar; and yet another duel, one fought on the height of Ar's cylinder of justice, between Pah-Kur, and he, in the song, called Tarl of Bristol. - Raiders of Gor, pgs. 225-226 -
Songs of the Red Hunters - were sung on the spot as they were not overly concerned with the being perfect, but true. If they have feeling and share emotion, then they are seen as "good songs." They can be about any number of topics from hunting to cooking. What you find is a diverse group of people that enjoy life and there ability to rejoice in song.
That drum in one hand of the hunter standing now in the midst of the group was some two and one half feet in diameter. He was now striking on it and singing. I could not make out the song, but it had to do with the mild winds which blow in the summer. These songs, incidentally, are rather like tools or carvings. It is unusual for one man or woman to sing another's songs. One is expected to make up one's own songs. It is expected that every man will be able to make up songs and sing them, just as every man is supposed to be able to carve and hunt. These songs are usually very simple, but some of them are quite beautiful, and some are quite touching. Both men and women sing, of course. Men, interestingly, usually do the carving. The ulo, or woman's knife, with its semicircular blade, customarily fixed in a wooden handle, is not well suited to carving. It is better at cutting meat and slicing sinew. Also, carving ivory and bone requires strength. But women sing as well as men. Sometimes they sing of feasting clothes, and lovers, and their skill in quartering tabuk.
Another man now took the drum and began to sing. He sang of a kayak-making song, customarily sung to the leather, wood, and sinew, with which he worked, that it not betray him on the polar sea. A fellow after him sang a sleen song, usually sung on the water, encouraging the sleen to swim to where he might strike them. The next song dealt with a rascal who, supposedly hunting for tabuk, lay down and rubbed his boots on a rock, later returning to his companions with a report of luckless hunting, indicating his worn boots as evidence of his lengthy trekking. From the looks cast about the room I gathered the rascal might even be present. One fellow at least, seemed quite embarrassed. He soon leaped up, however, and sang a song about the first fellow, something about a fellow who could not make good arrows. Two women sang after this, the first about gathering birds' eggs when she was a little girl, and the other about her joy in seeing the face of a relative whom she had not seen in more than two years.
It is rather commendable, I think, that the red hunters make up songs. They are not as critical as many other people. To them it is often more important that one whom they love sings than it is that his song is a good song. If it is a "true" song, and comes from the heart, they are pleased to hear it. Perhaps then it is a "good song," after all. Songs, even simple ones, are regarded by the red hunters as being precious and rather mysterious. They are pleased that there are songs. As it is said. "No one knows from where songs come."
- Beasts of Gor, pgs. 262-263 -
The ranking of Musicians is as follows:
1) Czehar Players
2) Flutists
3) Kalika Players
4) Kaska Players
5) Man in charge of miscellaneous instruments.
THE MUSICIANS -
The Caste of Singers and Poets can be compared to the Bards of Medieval England who made there way from town to town. They lived off there earnings by singing stories of love, recounting famous battle stories, and recording events with songs to be passed on through generations. By gaining favor in the noble houses of the area. Some were even kept in constant employment to provide entertainment for visiting guests.
The Singer and Poet of Gor, often made his living the same way. He traveled from city to city, hoping to gain favor of a peasant or even the present Ubar himself. They were regarded as craftsman for their art of creativity. He played a vital role in the social structure of Gor by providing entertainment to all levels of the Gorean society.
On Gor, the singer, or poet, is regarded as a craftsman who makes strong sayings, much like a pot maker makes a good pot or a saddle-maker makes a worthy saddle. He has his role to play in the social structure, celebrating battles and histories, singing of heroes and cities, but also he is expected to sing of living, and of love and joy, not merely of arms and glory; and, too, it is his function to remind the Gorean from time to time of loneliness and death, lest they should forget that they are men.
- Outlaw of Gor, pgs. 103-104 -
In spite of some reservations the Poet, or Singer, was loved on Gor. It had not occurred to him that he owed misery and torment to his profession, and on the whole, the Caste of Poets was thought to be a most happy band of men "A handful of bread for a song," was a common Gorean invitation extended to members of the caste, and it might occur on the lips of a peasant or a Ubar, and the poet took great pride that he would sing the same song in both the hut of the peasant and the halls of the Ubar, though it won for him only a crust of bread in one place and a cap of gold in the other, gold often squandered on a beautiful woman who might leave him nothing but his songs.
- Outlaw of Gor, page 104 -
He wore the robes of his caste, the singers, and it was not known what city was his own. Many of the singers wander from place to place, selling their songs for bread and love. I had known, long ago, a singer, whose name was Andreas of Tor.
- Raiders of Gor, page 225 -
The Caste Singers and Poets while highly prized in most cities on Gor were not as high regarded in others. For instance they were not welcomed guests in the city of Tharna. But in other areas of Gor it was a criminal offense to enslave one of the Caste of Musicians.
"The Caste of Poets is not so bad," I said to Linna.
"Of course not," she said, "but they are outlawed in Tharna."
- Outlaw of Gor, page 105 -
Lastly it might be mentioned, thinking it is of some interest, musicians on Gor are never enslaved; they may, of course, be exiled, tortured, slain and such; it is said, perhaps truly, that he who makes music must, like the tarn and the Vosk gull, be free.
- Nomads of Gor, page 154 -
In most cities it is regarded, incidentally, as a criminal offense to enslave one of the caste of players. A similar decree, in most cities, stands against the enslavement of one who is of the caste of musicians.
- Beasts of Gor, page 44 –
SONGS OF GOR -
The songs of Gor varied from place to place as you will see in the following examples. Some were sung as part of tradition, to tell a story, or played for there beauty and melody. It might be noted that they were never written down, but instead passed from generation to generation and master to apprentice.
I might mention, I have never on Gor seen any written music; I do not know if a notation exists; melodies are passed on from father to son, from master to apprentice. - Nomads of Gor, page 153 -
Archaic Hymns - were sung in the temple of the Initiates. They were written and sung in archaic Gorean, an ancient language upon Gor. Often times choirs of soprano male slaves were trained and kept to sing in the great temples.
The litany and responses of the congregation were now completed and the initiates, some twenty within the rail, began to sing in archaic Gorean. I could make out little of the wording. Marauders of Gor, page 33
Block Melodies - was a reference to several different melodies that are performed at a rhythm in which a slave girl was displayed fully for potential buyers. They were powerful and sexually stimulating in there melody.
The reference to "block melodies" had to do with certain melodies which are commonly used in slave markets, in the display of the merchandise. Some were apparently developed for the purpose, and others simply utilized for it. Such melodies tend to be sexually stimulating, and powerfully so, both for the merchandise being vended, who must dance to them, and for the buyers.- Vagabonds of Gor, page 37 -
Blue Sky Song - was a song sung by the Wagon people of the plains of Gor. They began to sing this in part before going into battle at the gates of Turia.
Some of the Tuchuks began to sing the Blue Sky Song, the refrain of which is that thought I die, yet there will be the bosk, the grass and sky. - Nomads of Gor, page 263 -
Caravans of Tor - was a love song played on the kalika about the caravans of Tor.
Her fingers touched the six strings, a note at a time, and then a melody, of the caravans of Tor, a song of love. - Asassin of Gor, page 264 -
The Hope of Tina - was a melody about a young girl who hopes that she may prove acceptable as a slave. It contains an expression of yearning and hope. Its melody is said to be of Cos.
The "Hope of Tina," a melody of Cos which would surely be popular with most of the fellows present, on the other hand, was an excellent choice. It was supposedly the expression of the yearning, or hope, of a young girl that she may be so beautiful, and so feminine, and marvelous, that she will prove acceptable as a slave. -Vagabonds of Gor, pgs. 37-38 -
The Men of Torvaldsland Sing at the Oars - was a song with no words sung by the crew of Ivar Forkbeard's ship as they leave the harbor of Kassau. They had much to rejoice after the successfulness of there mission in the temple of the high Initiate of Kassau.
The men of Torvaldsland began to sing at the oars.
The men of Torvaldsland sang with great voices.
The men of Torvaldsland singing, the oars lifting and dipping, the serpent of Ivar Forkbeard took its way from the harbor of Kassau. - Marauders of Gor, page 54 -
The Ten Maids of Hammerfest - was a rowdy river song sung by pirates as they made there way along the river. It recounted the fates of the ten girls of Hammerfest. It was sang with great enthusiasm and gusto.
On the Tuka the rowers were singing, lustily. They wore an odd assortment of garbs. Insignia has been torn from clothing. Crests had been ripped from helmets, identificatory devices pried from the convex surfaces of shields. It was not a song of Ar they sang, but a river song, a song of pirates and brawlers, "The Ten Maids of Hammerfest," in which is recounted the fates which befell these lovely lasses. I was mildly scandalized that the stout fellows of Ar, soldiers and gentlemen, as Gorean gentlemen go, would even know these lyrics, let alone sing them with such unabashed gusto. - Guardsman of Gor, page 93
A Song of Tarl of Bristol and Glorious Ar - was a song recounting the tale of the events surrounding the story line of Tarnsman of Gor. Describing the deeds of Tarl Cabot and his heroic courage in defeating the Master Assassin Pa-Kur.
I sing the siege of Ar
of gleaming Ar.
I sing the spears and walls of Ar
of Glorious Ar.
In the long years past of the siege of the city
the siege of Ar
of her spires and towers
of undaunted Ar
Glorious Ar
I sing.
I sing of dark-haired Talena
of the rage of Marlenus
Ubar of Ar
Glorious Ar.
And of he I sing
whose hair was like a larl from the sun
of he who came once to the walls of Ar
Glorious Ar
he called Tarl of Bristol.
And, as the torches burned lower in the wall racks, the singer continued to sing, and sang of gray Pa-Kur, Master of the Assassins, leader of the hordes that feel on Ar after the theft of her Home Stone; and he sang, too, of banners and black helmets, of upraised standards, of the sun flashing on the lifted blades of spears, of high siege towers and deeds, of catapults of Ka-la-na and tem-wood, of the thunder of war tharlarion and the beatings of drums and the roars of trumpets, the clash of arms and the cries of men; and he sang, too, of the love of men for their city, and, foolishly, knowing so little of men, he sang, too, the bravery of men, and their loyalties and their courage; and he sang then, too, of duels; of duels fought even on the walls of Ar herself, even at the great gate; and of tarnsmen locked in duels to the death over the spires of Ar; and yet another duel, one fought on the height of Ar's cylinder of justice, between Pah-Kur, and he, in the song, called Tarl of Bristol. - Raiders of Gor, pgs. 225-226 -
Songs of the Red Hunters - were sung on the spot as they were not overly concerned with the being perfect, but true. If they have feeling and share emotion, then they are seen as "good songs." They can be about any number of topics from hunting to cooking. What you find is a diverse group of people that enjoy life and there ability to rejoice in song.
That drum in one hand of the hunter standing now in the midst of the group was some two and one half feet in diameter. He was now striking on it and singing. I could not make out the song, but it had to do with the mild winds which blow in the summer. These songs, incidentally, are rather like tools or carvings. It is unusual for one man or woman to sing another's songs. One is expected to make up one's own songs. It is expected that every man will be able to make up songs and sing them, just as every man is supposed to be able to carve and hunt. These songs are usually very simple, but some of them are quite beautiful, and some are quite touching. Both men and women sing, of course. Men, interestingly, usually do the carving. The ulo, or woman's knife, with its semicircular blade, customarily fixed in a wooden handle, is not well suited to carving. It is better at cutting meat and slicing sinew. Also, carving ivory and bone requires strength. But women sing as well as men. Sometimes they sing of feasting clothes, and lovers, and their skill in quartering tabuk.
Another man now took the drum and began to sing. He sang of a kayak-making song, customarily sung to the leather, wood, and sinew, with which he worked, that it not betray him on the polar sea. A fellow after him sang a sleen song, usually sung on the water, encouraging the sleen to swim to where he might strike them. The next song dealt with a rascal who, supposedly hunting for tabuk, lay down and rubbed his boots on a rock, later returning to his companions with a report of luckless hunting, indicating his worn boots as evidence of his lengthy trekking. From the looks cast about the room I gathered the rascal might even be present. One fellow at least, seemed quite embarrassed. He soon leaped up, however, and sang a song about the first fellow, something about a fellow who could not make good arrows. Two women sang after this, the first about gathering birds' eggs when she was a little girl, and the other about her joy in seeing the face of a relative whom she had not seen in more than two years.
It is rather commendable, I think, that the red hunters make up songs. They are not as critical as many other people. To them it is often more important that one whom they love sings than it is that his song is a good song. If it is a "true" song, and comes from the heart, they are pleased to hear it. Perhaps then it is a "good song," after all. Songs, even simple ones, are regarded by the red hunters as being precious and rather mysterious. They are pleased that there are songs. As it is said. "No one knows from where songs come."
- Beasts of Gor, pgs. 262-263 -
posted by arouseA @ 12:47 PM
0 Comments:
Post a Comment
<< Home