Objetivos de la propuesta

Although in its current incarnation this chant is favored by paladins and other followers of Corean and Goran, in an earlier time it was performed by the forge- druids and smith servitors of Golthagga. Because chant is rhythmic and methodical, forge workers often used it to keep time while metalworking. This chant is also sometimes sung during battle, where it is used to measure time and coordinate troop movements. “99 Shattered Blades” is traditionally performed in an- cient Ledean, though it has its roots in the Dark Speech of Golthagga.

The original meaning of “99 Shattered Blades” has largely been lost, but sages believe it recounts the tragic destruction of the Empire of the Ancients, who once occupied the Plains of Lede. The chant conveys a sense of tragic loss and deep regret, tinged with hope and a vibrancy of life.

Bardic Music: “99 Shattered Blades” is usually

performed to inspire courage, inspire heroics or inspire

competence on Craft skill checks involving forge work.

Bardic Spells: This chant may be used to cast

analyze dweomer, animate objects, continual heat, crushing despair, daze monster, fox's cunning, ghostdweomer*, greater heroism, heroism, identify, Liliandel’s flurry*, mask magic**, mass fox's cunning, Nystul's magic aura, shatter, sympa- thetic vibration.

observer within 5 ft. may discern the item’s enchantments with a successful Perform check (DC 25). Only bards possess the magical and musical knowledge to successfully perform this feat.

Wands: Because they learn them as lower-level

spells, bards are capable of crafting certain types of wands, such as those that cast fear, confusion, and dominate person, more easily than wizards and sorcerers. In addition, bards can create wands with healing spells and other spells unavailable to arcane spellcasters. Bards often seek out fellow bardic wand crafters, in order to supplement their own limited number of spells and spellcasting ability. Similarly, bardic wands that can be triggered by anyone with musical ability are widely sought by those seeking healing without the gods’ blessings.

Bards focus more on wands that create useful general effects than the wands with flashy offensive attack spells favored by wizards. Widely created wands include: charm

person, cure light wounds, silent image, blindness/deafness, cure moderate wounds, glitterdust, silence, dispel magic, fear, haste, slow, cure serious wounds, cure critical wounds, domi- nate person, shout, and rainbow pattern.

Rods: There are not many rods that bards are capable

of crafting, so bards rarely take the Craft Rod feat. Popular rods that bards may craft include the rod of wonder,

immovable rod, rod of flame extinguishing, and rod of cancella- tion. These rods may help bards counter the superior

magical might of sorcerer or wizard opponents.

Staffs: Bards do not often take the Craft Staff feat, as

the only staff that bardic magic is capable of crafting is the

staff of charming. On the other hand, bards are quick to

acquire traditional staffs made by wizards or clerics as they allow them the use of spells that bards may not normally access. With their proficiency for the Use Magic Item skill, bards can often make efficient use of any type of staff, unlike wizards, clerics, or sorcerers.

Rings: Popular among adventurers of all stripes, a

variety of rings can be crafted by bards with the Forge Ring feat. Bardic rings tend to be particularly ornate and elabo- rate, perhaps owing to the elven influence on bardic magic. Rings commonly crafted by bards include: ring of blinking,

ring of chameleon power, ring of climbing, ring of feather fall, ring of invisibility, ring of swimming, and ring of scribing.

1001S

HELZARI

N

IGHTS

A series of performances adapted from the popular Shelzari book of the same title (see Scarred Lands

Campaign Setting: Ghelspad, pg. 170), this ballad is

often performed with accompanying dancers who act out the book’s sensual postures. How authentically the positions are duplicated and the number performed vary from performance to performance, but “1001 Shelzari Nights” tends to tax the stamina of even the greatest eroticist. It is said that no bard has ever completed the illustration of the entire book in one performance.

The story details the life of a rich Shelzari noble- man who has tired of his wife and threatens to have her slain if she cannot please him. With the help of the goddess Idra, the noblewoman is able to engage in more and more elaborate sexual techniques for 1001 nights. Eventually the husband dies from sheer pleasure and leaves all his riches to his wife. The story represents well Shelzari culture and its love of irony.

Bardic Music: “1001 Shelzari Nights” is often used

to employ the fascinate, suggestion or mass suggestion bardic music abilities.

Bardic Spells: The intricate performances associ-

ated with Shelzari Nights are well suited to cast spells such as: charm monster, charm person, eagle's splendor,

ecstatic vision††, Gulaben’s ecstasy**, gullibility, mass eagle's splendor, message, Rie’s dance of seduction*, Tashaa's hideous laughter.

T

HE

B

ATTLEOF

G

AMBEDAL

’

S

B

RIDGE

Two versions of this historical ballad exist, that extolled by the dark elves and that chanted by the

mountain dwarves of Burok Torn. Although the two ballads share many of the same facts and even turns of verse, they originate from separate, and even viciously polemic, viewpoints. Unfortunately, the more inaccu- rate dwarven version has become much more common in the lands surrounding Burok Torn and beyond.

The ballads begin with the destruction of Baereth Marn by the titan Churn, and continue through the preparation of the dwarven and elven forces for the battle against the Scourge. Although the elven version details the exact nature of the Denaval Arch and the true tactics of the combined army, the dwarves impart the idea that the titan was to be overcome by sheer force of arms and magic alone — an impossible task. The two versions most greatly diverge when the actual battle occurs at Gambedal’s Bridge. The dwarves recount a hopelessly skewed version of the battle, based on the fever-induced visions of Goran. The elven version, while slightly skewed by the elves’ own jealously and bitterness, aligns much more closely with the reality of the scenario.

Bardic Music: The appropriate version of this

ballad may be used to inspire courage, inspire greatness or

inspire heroics by a dwarven or dark elven bard among her

own people.

Bardic Spells: The ballad may be used to cast the

following spells: aura of menace**, battlecry*, Belsameth’s

strife*, confusion, darkness, daylight, delay poison, dirge of woe*, disappear*, lesser confusion, message, mind fog, neu- tralize poison, rage, remove curse, rend the sovereign soul*, song of champions*, song of heroes*, song of the gods*,

summon swarm, sympathetic vibration, Talen’s confounding battlefield**, trust in the gods**, undetectable alignment.

C

OURTSHIPOFTHE

N

INE

J

EWELS

An old song of Shelzari origin, “Courtship of the Nine Jewels” is the romantic tale of the efforts of Prince Ariakani to woo the aloof and beautiful Princess Riasha. The entirety of the epic is incredibly long, taking several hours to complete. Fortunately it is separated into nine parts, one for each “jewel” he wins and gives to his love. These “jewels” are symbolic of the things that supposedly define the perfect marriage, at least in the eyes of the old Shelzari nobility: riches, fidelity, piety, honor, virility, grace, artistic ability, attentiveness and love. Each claiming of a jewel involves the Prince Ariakani facing and completing a test, proof of his devotion to both the virtue in question and the princess. Some parts of this song are very magical, while others are perfectly scandalous (as perhaps befits an epic of the City of Sins). Though the most common way to relate the tale is with a cittern and ululating song, the entertainers of Shelzar often relate “Courtship of the Nine Jewels” with only sinuous dance, assisted by veils. Supposedly in some performances, the bard performing the dance wears only nine silken veils, discarding each one as the tale is related.

Bardic Music: “Courtship of the Nine Jewels” is

often used by bards utilizing the fascinate bardic music. Others are known to use it to render a suggestion or mass

suggestion (especially if the suggestion involves one of the

virtues of the epic), while there are also tales of those who use it to inspire competence in someone who is wooing another or simply to create harmonious social dealings.

Bardic Spells: “Courtship of the Nine Jewels” is

often quoted when casting one of the following bard spells: calm emotions, charm monster, charm person, eagle's

splendor, ecstatic vision††, Elina’s wardrobe**, enthrall, geas/quest, Gulaben’s ecstasy**, lesser geas, lullaby, mass charm monster, mass eagle's splendor, mass suggestion, Rie’s dance of seduction*, siren song†, song of discord, suggestion.

C

YCLEOFTHE

G

ANJUS

One of the few wood elven songs known outside of Vera-Tre, “Cycle of the Ganjus” is a song about the natural world of the forest and its changing seasons. It is said that only the bards of the Chorus of the Ages possess the knowledge of the ebb and flow of the natural world necessary to correctly perform the “Cycle.” This song is reputed to possess all manner of magical properties when performed properly, and it is only sung in its traditional Middle Elven.

From what outside bards can understand, “Cycle of the Ganjus” communicates directly with the titan Denev. The song clearly reflects the values of elven life, includ- ing respect for the cycle of nature, the transient state of

mortal life, and achieving harmony with the world. Recently, half wood elves, Veshians, and elves not of Vera-Tre have begun to learn small pieces of the “Cycle.” Although these fragments do not possess the mystical significance of the entire “Cycle of the Ganjus,” they clearly reflect the beauty and eternal nature of the natural world.

Bardic Music: “Cycle of the Ganjus” is often used

to perform the countersong, fascinate, mass suggestion,

song of freedom and suggestion bardic music abilities.

Bardic Spells: “Cycle of the Ganjus” has many

mystical properties and it may be used to invoke spells that affect the natural world, including: animal trance,

cat’s grace, delay poison, dowsing*, eagle song**, find the path, follow the shifting sands††, hallucinatory terrain, know direction, Liliandel’s flurry*, locate water**, mass charm monster, mass cat's grace, mirage arcana, neutralize poison, rabbit feet*, serpent’s stare**, speak with animals, speak with plants, summon swarm.

T

HE

D

IVINEANDTHE

D

EFEATED

The ultimate expression of the Divine War, “The Divine and the Defeated” is an epic ballad conveying what many consider to be the “true history” of the Titanswar. This piece was composed by the brilliant Veshian bard Kay La’tornel in AV 10 and has since spread to most civilized areas across Ghelspad. It is said that Kay traveled the broken lands of Ghelspad for 10 years, in order to capture the essence of the war and recount her tale as accurately as possible. In reality, “The Divine and the Defeated” is terribly biased, gloss- ing over horrible massacres, misrepresenting motivations, and portraying the titanspawn forces as squabbling and ineffective. As they say in Calastia, history goes to the victors.

The ballad begins with the stripping of Enkili’s magic by the power-mad Mesos (conveniently leaving out the trick that prompted it) and ends with the destruction of the titan Gulaben, bound and destroyed by the perseverance of the gods. Bards often retell this tale on Divinities Day as a commemoration of the great struggles of the forbears and the might of their gods. The more intelligent titanspawn fervently hate this epic and will make every effort to kill bards who quote it exten- sively.

Bardic Music: As a heroic and boisterous tale of bravery,

“The Divine and the Defeated” is often used to invoke bardic music abilities such as inspire courage and inspire greatness.

Bardic Spells: “The Divine and the Defeated” is

employed to cast all manner of healing spells, spells involv- ing bravery, and combat-based spells, such as: charm’s

aegis**, cure critical wounds, cure light wounds, cure moderate wounds, cure serious wounds, dispel magic, Enkili’s prank*, geas/quest, greater dispel magic, greater heroics, gullibility**, healing circle, heroics, mass cure light wounds, mass cure moderate wounds, song of champions*, song of heroes*, song of the gods*, trust in the gods**, unwavering ally**.

E

NKILI

’

S

C

HOSEN

This ballad tells the tale of a stodgy old wizard who was chosen to be the Page of Enkili by the Trickster himself. Placed into a young body and filled with the chaotic essence of the god, the wizard sheds his grumpy nature and becomes something of a prankster. The rest of the tale conveys the wizard’s humorous and oft ridiculous adventures. Although the now-young wizard dislikes Enkili, he nevertheless finds himself performing the god’s will often by accident and mischance. At the tale’s conclusion, the wizard once again finds himself in his own body, but he retains his enhanced sense of humor and a grudging respect for the trickster god. “Enkili’s Chosen” is common in areas where the Trick- ster is popular, such as Zathiske, Shelzar, Fangsfall, the Ukrudan Desert, and even Mithril. In more rigid cities, bards often perform this ballad as a warning to the rich and powerful — that even the most high can be brought low by fate and that one should always retain a sense of humor.

Bardic Music: This song is rarely used to perform bardic

music, but it may be used to inspire courage or perform a

countersong or song of freedom.

Bardic Spells: Favored by bards who worship Enkili,

this song may be used in the following spells: bed bug bites**,

confusion, disappear*, Enkili’s prank*, Enkili’s shadow**, false vision, ghostdweomer*, gullibility**, lesser confusion, magic mouth, malicious image**, message, mirror image, misdirection, mislead, reverse illusion*, suggestion, Talen’s confounding battle- field**, trust in the gods**, veil.

E

PICOF

A

RDANMA

U

ISLIU

Unique among Darakeene epics, the “Epic of Ardan ma Uisliu” contains elements of both gentraige, lively and excit- ing music, and goltraige, sad and tragic music. The epic, which is usually accompanied by the ubiquitous Darakeene bagpipes, details the life of the Keltai chieftain who first united all the tribes of Darakeene. Not content to simply recount historical events, Darakeene bards continually add to and embellish the epic, making it more a complete oral history of Darakeene than a story about one man. Most bards tell only a selected portion of the epic at any one setting, the entire epic being far too long to recant for the average performance. On the other hand, bardic competitions wherein bards chant the entire epic for long hours occur on a yearly basis.

The “Epic of Ardan ma Uisliu” has both exciting war scenes and tragic expressions of loss. The years after Uisliu’s death when Darakeene crumbled is an especially sad chapter of the verse, and the section in which the triumphant Selrach restored the monarchy has become a de facto expression of Darakeene unity. The epic continues to grow as the history of Darakeene evolves, and only the gods know whether the future dissolution of the great nation will become the epic’s final tragic chapter.

Bardic Music: This lengthy epic may be sung by

Darakeene bards to invoke nearly any bardic music effect. The most popular effects are inspire competence, inspire

greatness and inspire heroics.

Bardic Spells: Popular spells often invoked with the

“Epic of Ardan ma Uisliu” include: aura of menace**,

battlecry*, eagle's splendor, good hope, greater heroics, haste, heroics, legend lore, mass eagle's splendor, rage, remove fear, song of champions*, song of heroes*.

E

PICOF

C

AROLANN

An ancient Albadian epic poem, modern bards have taken to setting the “Epic of Carolann” to music. The piece is rousing and boisterous, stirring the blood of unruly barbar- ians and timid civilized folk alike. The epic is also very long, and only the most knowledgeable of bards can memorize the entire piece. When performed to music, only a single chapter containing one of Carolann’s adventures is performed.

Carolann was supposedly a barbarian chieftain shortly after the fall of the Empire of the Ancients. He taught his followers, those who survived the magical disaster because of youth or complete lack of magical talent, the way of the wilderness, epitomized in the rage of barbarism.

Carolann lead his people across the ruined Plains of Lede, already teeming with orcish tribes, to the frozen wastes now known as Albadia. The epic recounts Carolann’s valiant onslaughts against the fearsome beasts encountered during his journey. Each chapter describes a different battle, a few of the more memorable ones being against an orcish chieftain, a tundra lord, a powerful thulkan, and a beast that could only be a white dragon. All the while, the barbarian lord taught his followers to trust their inner spirit and rely upon their might and cunning, shedding the weaknesses of the civilized way of life. Because of these lessons, the epic is often quoted by the northern Albadians as a rejection of civilization.

Bardic Music: Because it is such as rousing piece, the

“Epic of Carolann” is often used by bards when performing the inspire courage, inspire greatness or inspire heroics bardic music abilities.

Bardic Spells: The Epic of Carolann is frequently

quoted when casting spells such as: Austlinan’s violent

scream**, battle cry*, crushing despair, freedom of movement, greater heroism, greater shout, heroism, rage, sharpen senses††, shout, sympathetic vibration.

G

ENIE

’

S

T

RIUMPH

A cautionary tale from long-lost Elz about the devious and crafty nature of genies, “Genie’s Triumph” has been preserved among the peoples of Shelzar and the Ukrudan Desert. The story is often told as a fairy tale to children, teaching the lesson that one must be wary yet cunning when dealing with mystical forces.

This tale revolves around the marid Urseus who has been summoned to serve a powerful wizard of Elz. Craftily, the marid tricks the wizard into making harmful wishes that ultimately undo the spellcaster. In a stunning reversal of fortunes, the Urseus overcomes the wizard and makes him the servant — humiliating him at every turn.

At the end of the tale, it seems that the wizard has finally prevailed by tricking the genie into binding with a decora-

tive lamp. The marid, however, reveals that the wizard’s inadequate binding only served to keep the genie from being sealed away by Chardun’s binding of the genies’ cities.

Bardic Music: This tale may be used to fascinate

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