Lelia Corsini – Laurel Ceremony
Researched and Written by Matsudaira Takauji
Introduction and Notes:
I am absolutely delighted for this ceremony, because to me it represents a further chance to push myself in terms of what a ceremony can be. This is the second ceremony I’ve written where the goal is more a feeling or a story than a plausible ceremony from a specific time. Lelia wanted an element of mystery in her ceremony, and something entertaining for both the participants and the crowd. To that end, her idea was a play on an Italian masquerade.
From this idea, I’ve worked on adding elements from different sources to give the moment a narrative. Masquerades themselves began as court dramas or civic pageants, beginning with what were called in Henrician England as ‘disguisings’ and becoming what we know them at the end of period. What is a peerage ceremony but a court drama or civic pageant, so some elements of these earlier forms seemed appropriate.
Other sources which helped provide structure were some elements of plays and commedia dell’arte and late period guild leader installations. Both have elements of mistaken identity and a search for the real person, whether a sought after loved one or the perpetrator of some faux pas in the commedia or the one true guild head in an installation; these lent themselves well to the fusion of masquerade and peerage ceremony.
The result is hopefully an entertainment and elevation all in one, creating a sense of place and occasion that draws on history but delivers fun. And perhaps an element of tension, as all involved remember that there is an element of freedom in such events that led them to be legally regulated in Italy. If there are elements which seem fantastical, or which don’t resemble other peerage elevations, don’t worry; the masquerade is only for the evening, and the regular world will be restored when the masks are removed. As was said elsewhere in period: If we shadows have offended/think but this, and all is mended/that you have but slumbered here/while these visions did appear.
Terms/Definitions:
Sources:
G.C. Williamson, Curious Survivals: Habits and Customs of the Past That Still Live in the Present, Herbert Jenkins Ltd. (1923, rev. 1924).
Helen Watanabe-O’Kelly, ‘True and Historical Depictions’? European Festivals and the Printed Record, The Dynastic Centre and the Provinces: Agents and Interactions (Brill, 2014).
Christopher Richardson, The Divine Commedia: Reflections on the Commedia dell’arte, 19 April 2022. https://christopherrichardson.com.au/the-divine-commedia-reflections-on-the-commedia-dellarte/.
Suzanne Gossett, Recent Studies in the English Masque, 26 English Literary Renaissance 3 (Autumn 1996).
Winifred Smith, Italian and Elizabethan Comedy, 5 Modern Philology 4 (April, 1908).
Dramatis Personae:
| KING: | Emerick |
| QUEEN: | Kolfinna |
| PEER: | Lelia Corsini |
| ROYAL HERALD: | TBD |
| BOON BEGGER: | Gyda Glora |
| LAUREL SPEAKER | Matsudaira Takauji |
| CHIVALRY SPEAKER | Felix Sniumi |
| PELICAN SPEAKER | Nesscia inghean Chearnaigh |
| DEFENSE SPEAKER | Nadya Helming |
| ROYAL PEER SPEAKER | Isadora of Orangewood and Volkmar Katzbalger |
| POPULACE SPEAKER: | Catlin Marie de Moretaine and Robert Cory Macpherson |
| CLOAK GIVER: | Catlin Marie de Moretaine |
| CLOAK DRAPER: | Khuden Volkov |
| MEDALLION GIVER: | Asa Lufa |
| WREATH GIVER: | Suzanne de la Ferte (Words read by Gyda) |
NOTE: All text written in italics are stage directions, and should be followed rather than read out loud.
Please try to ensure you are projecting for your speaking role. The goal of this ceremony is, in part, entertainment for the crowd; and it cannot be entertaining if they cannot hear you.
The masks for the King and Queen should be placed on their table or behind the thrones at the beginning of the ceremony.
Script:
The ceremony begins immediately after Their Majesties have opened court and asked the populace to take their ease. Herald, please do not forget to have the populace take their ease! Before any other business, we are right into it.
King: Before we invite our stewards, the Baron and Baroness of Mag Mor, we must attend to a pressing matter.
Queen: We have business with the Baroness of Mag Mor that cannot wait, and we would have her attend us. But I do not see her here.
King: Herald, call Baroness Lelia’s peer and the Order, so that we can find where she has gone.
Herald: Their Majesties invite before them Mistress and Baroness Gyda Glora and the Ancient and Honorable Order of the Laurel.
Gyda enters court as normal, carrying her mask with her. The Laurels filter in as well, arraying themselves near the thrones. Herald and the Crown – please direct the Laurels to basically gather right near the thrones; the Crown needs room to move, and a bunch of people are about to come into court.
Queen: Good Mistress, we would complete the matter that our royal forebears had discussed with you at Queen’s Prize. Where is your baroness, your apprentice?
Gyda: Your Majesties, did our servant Pulcinella[1] not tell you? As part of the festivities of the day, a Masquerade was scheduled; and always being a supporter of the arts and especially the ars nova, Lelia stepped in to assist the players.
King: How shall we find her, to recognize her countenance and her dedication to the Kingdom?
Queen: We must call the masquerade before us, so that the court may be entertained and our justice done.
King: Ah, truly the wisdom of the Queens of Calontir is without equal. Herald, call for the masquerade, so that we may join and find the one we seek!
Herald: Let all revelers come show their pageantry to the Crown and populace, so long as one among their masked numbers be the Baroness of Mag Mor Lelia Corsini.
Their Majesties take their masks and put them on.
Everyone participating in the masquerade enters en masse, with Lelia in the midst of the players. Players should take a meandering path, dancing with one another to the music while the Mag Mor choir sings. Arming, siding, and other forms of period dance are encouraged.
The mass of revelers should stop between the populace and the crown, milling about loosely. From here, the Crown will move through the crowd to the peerage speakers, rather than waiting for the speakers to come to them.
The Crown will ask to the crowd ‘Are you the one we seek’, and the next speaker in line will announce themselves—the Crown will then move to the speaker.
While the Crown is moving, the crowd should mill about and dance; but when people are speaking, they should pause.
Queen: Among the faces of Pantalone and Pierrot[2] we must find our Baroness, to fulfil the worthy actions of our worthy parents.
The King points randomly.
King: You there, are you the one we seek, noble of heart as well as lineage?
Felix (the Chivalry speaker) removes his mask and responds:
Felix: No, your Majesties, I am not the one you seek; but as a knight I can speak to her strength.
The King and Queen approach Felix.
Felix: Speaks his own words about Lelia’s virtues, as they pertain to the Chivalry.
Queen: We thank you for your words, sir knight, and give you leave as we seek our Baroness.
The Queen points randomly.
Queen: You there, are you the one we seek, learned in the arts and skilled in sewing?
Nesscia (the Pelican speaker) removes her mask and responds:
Nesscia: No, your Majesties, I am not the one you seek; but as a Companion of the Order of the Pelican, I can speak to her virtue.
The King and Queen approach Nesscia.
Nesscia: Speaks her own words about Lelia’s virtues, as they pertain to service.
King: We thank you for your words, good Mistress, and give you leave as we seek the Lily of our Court.
The King points randomly.
King: You there, are you the one we seek, who has clad peers and populace in beautiful garments?
Donald (the Defense speaker) removes his mask and responds:
Donald: No, your Majesties, I am not the one you seek; but as a Companion of the Order of Defense, I can speak to her virtue.
The King and Queen approach Donald.
Donald: Speaks his own words about Lelia’s virtues, as they pertain to defense.
Queen: We thank you for your words, good Master, and give you leave as we seek our Swan.
The Queen points randomly.
Queen: You there, are you the one we seek, who has given of her own body and health to the growth of art?
Volkmar and Isadora (the Royal Peer speakers) remove their masks and respond:
Volkmar or Isadora: We are not, your Majesties; but as royal peers, we can speak to her dedication to the Kingdom.
The King and Queen approach Volkmar and Isadora.
Volkmar/Isadora: Speak their own words about Lelia’s virtues, as they pertain to supporting the Crown and Kingdom.
King: Thank you, cousins and those who have come before us. We grant you leave as we seek she who has earned the wreath.
The King points randomly.
King: You there, are you the one we seek, who has supported the people with her excellence?
Catlin and Cory remove their masks and respond:
Catlin or Cory: We are not, your Majesties; but as subjects of the Kingdom, we can speak to her leadership and friendship.
The King and Queen approach Catlin and Cory.
Catlin/Cory: Speak their own words about Lelia’s virtue, as they pertain to supporting the Populace.
Queen: Thank you, dear nobles of our court—for none should be elevated who do not remember that without the people, peerage would be for naught. But surely, we must be close.
The Queen points randomly.
Queen: You there, surely you must be the one we seek, who grew in the light of Scarlet Keep and into the plains of Mag Mor?
Takauji removes his mask and responds:
Takauji: I am not, your Majesties, but I am a member of the Order that has judged her worthy to join; and I can speak to her worthiness in the arts.
The King and Queen approach Takauji.
Takauji: Speaks his own words about Lelia’s virtue as an artist.
King: Thank you, good Master, for it is indeed this Order we seek to have her join. But we can wait no longer to discharge our duties in this matter.
The King and Queen return to the thrones.
Queen: Let all remove their masks and stand before their crown, so that we may find the one we seek, and our steward for Mag Mor attend us immediately.
All remove their masks, and all revelers and non-Laurel speakers disperse. Lelia steps forward, and curtseys.
Lelia: Your Majesties, as is known, there is nothing concealed that will not be disclosed, or hidden that will not be made known, to the righteous crowns of Calontir.[3]
King: Baroness Lelia, it delights us to have you finally before us. We have heard of your virtues and find it fitting to bestow that which was offered to you before. Is it still your desire to accept it?
Queen: Consider carefully your words, for peerage is no dance or disguising; when the candles are snuffed and the music quiet, still will your duties be there.
Lelia: It is still my desire, your Majesties, so long as I can complete my final obligation to my peer.
King: Proceed, for we would have none take this step burdened by anything but their duty.
Lelia and Gyda approach one another apart from the thrones.
Gyda: Speaks words to Lelia about releasing her as an apprentice.
Lelia: Speaks words to Gyda in return.
Once Gyda and Lelia have completed their business, Lelia returns to the thrones and kneels.
Queen: If you would stand as our Peer, we would have your oath.
Herald Reads and Lelia repeats:
Here do I swear fealty to the Crown and Kingdom of Calontir,
And herewith give my solemn oath:
To take you as liege of life and limb and truth and earthly honors.
To defend with all my power the rightful laws and customs,
Of the Crown, the Kingdom, and the Society.
To bear you faith by deed, word, consent, and counsel,
Champion justice, foster knowledge, and strive ever to be worthy,
Of the Laurel Wreath.
Against all who love, move, or die, swear I,
Lelia Corsini, Mistress of the Order of the Laurel
King and Queen together:
We hear your fealty freely given,
And by Our word confirm that We
Will never sacrifice you needlessly.
We swear to judge your oaths with mercy,
Your words with honor, and your deeds with justice.
We will it and grant it and swear it so,
Emerick, King.
Kolfinna, Queen.[4]
King: Now that you have sworn your oath, let all know you as a peer by your actions and virtue. But that you may be found in a crowd, let you also be invested as appropriate. Is there a wreath?
Gyda: There is, your Majesty, along with words from my own Laurel, Suzanne de la Ferte. Take now this wreath, symbol of ancient victory and sacrifice, and hear the words of your lineage.
Gyda speaks other words as she feels appropriate.
Queen: Is there a medallion?
Asa: There is, your Majesty. Take now this medallion, a light of honor not only so that others may know your rank, but that they may find you when you are needed. May it ever be a guiding light, and never a warning.
Asa speaks other words as appropriate.
King: Is there a cloak?
Catlin: There is, your Majesty. I hold now a cloak, which is a symbol and a tool. Wear it in pride, but most of all wear it—if you have no warmth for yourself, you have none to give others.
Catlin speaks other words as appropriate. Catlin hands the cloak to Khuden.
Khuden: Lelia, I place this cloak on you. Though it was not made by me, it was made with love; let it be a reminder of my love for you, of your friends love for you, and of the Kingdom’s love for you.
Khuden speaks other words as he feels appropriate.
Khuden puts the cloak on Lelia’s shoulder, and then takes it off.
Khuden: And now I will carry it for you until it is time for you to wear it again.
Queen: Your virtues have been praised, and all masks removed. You have sworn your oath, and been invested. Calontir, your newest Laurel! Herald, read the scroll!
[1] Pulcinella is one of the stock characters in Commedia dell’arte; when depicted as a servant, they are bumbling and perverted. We’ve left off the second attribute.
[2] Two more stock characters.
[3] Adapted from Luke 12:2.
[4] Adapted from 15th century Oaths of Fealty, previously used by Damien and Issabell for their 2nd reign.