THE COURTS OF KING ARTHUR The Knights, Lords and Ladies of Arthurian Britain edited by Peter Corless Chaosium, Inc. 1996 For my family, who taught me what it means to be part of a Clan and For all those who have helped me along the long road of the Quest WHAT IS THIS BOOK? An Introduction to The Courts of King Arthur THE COURTS OF KING ARTHUR is a supplement for Pendragon, Chaosium's role-playing game of Arthurian Britain. You must possess Pendragon in order to use this book effectively, though the information contained herein might also interest the dramatist, scholar or others interested in Arthurian Britain. For those with more general interests in Arthuriana than roleplaying, the author begs your indulgence for the use of any 'gamespeak' included herein. The Courts of King Arthur describes the major characters of the Arthurian legend, being a very brief overview of their lives and personalities. Considering the sum of related literature and history on Arthurian Britain fills many books - even whole bookshelves and libraries - this book attempts only to give the broadest of overviews. Generally, Pendragon, The Courts of King Arthur, and other works in the Pendragon series streamline the various plot and character conflicts existing in original literature, mythology and history along the narrative overview of the Arthurian tales as presented in Sir Thomas Malory's 15th Century epic, Le Morte D'Arthur. However, since many different versions of the Arthurian legends often indirectly or directly conflict with each other, as well with real historical events or characters (and even within good Sir Thomas' works we find some serious paradoxes!), The Courts of King Arthur may sometimes refer the reader to original sources where interesting variants of the legends exist. A bibliography at the end of the book assists the reader so interested in pursuing alternative threads; many of these sources are available in paperbackLancet. Others are available on the Internet, though these are often transient and subject to frequent change. The Purpose of this Book The Courts of King Arthur is designed primarily for the introduction, presentation and application of the major Arthurian characters within the adventures and plotlines of your Pendragon roleplaying game. Sections will be devoted to the appropriate dramatic use and characterization of these personae in roleplaying adventures and settings. Though they are primarily designed and presented for use as nonplayer characters in a tradional Pendragon game context, those so inclined are also free to use them as player characters in a very different sort of Pendragon game where players take the role of famous characters from the canon of Arthurian lore. The character descriptions focus on the personality traits, passions, attributes, skills, distinct behaviors, interpersonal relationships, key titles, positions and possessions which made each one famous. These will often be expressed in Pendragon game statistics while key examples and references might be described in the text. Secondarily, the book provides a general overview of the major characters of Arthur's Court to familiarize those who have not read Malory or other original literature from which these characters are derived, and even for those who have, and are confused (as the author admittedly is still) by the plethora of characters contained therein. It is not an exhaustive study, for many illustrious characters are excluded for brevity's sake. Also, to prevent the infinite expansion of the text through inclusion of supporting materials, and to avoid duplication of other's substantial and valuable works, where possible, references are made to key sources in original literature or in other Pendragon series titles. Who's Who in Camelot? Included in these pages are the most famous characters of King Arthur's court, plus many of their good friends, dreaded enemies, and other contemporaries, drawn from original Arthurian literature and history. Such characters shall be referred to as "canonical" characters, opposed to "non-canonical" characters you may discover in modern Arthurian stories, characters invented for Pendragon supplements, or those characters created by your players or gamemaster within your own Pendragon campaign and adventures. The Major Clans There are five major clans in Arthur's realm, and all are mysteriously related to the Keepers of the Grail. The leaders of each clan make up the central characters of the Arthurian cycle, and many of their relatives are members of the Round Table, or otherwise represented in the panopoly of the Arthurian saga. The Central Characters Most of the western world is familiar with Arthur and Merlin, Guenever and Lancelot, Gawaine and his brethren of Orkney, the lovers Tristram and Isoud, the Dame Igraine and her daughters Margawse and Morgan le Fay, the Holy Sir Galahad, and of course Sir Mordred. These are the key characters of the saga, and the King's closest friends and relatives. Since the exploits of these characters truly fill volumes, only the briefest mention of the major events of their lives is possible. Unless the characters in your game are closely associated with the High King himself (or you choose to play a game where you play the canonical characters), these serve as archetypes to be emulated, admired, feared or otherwise viewed from afar. Knights of the Round Table When King Arthur married Guenever, he was presented with the Round Table as part of her dowry. It belonged to his father Uther Pendragon years before, and it was created by Merlin specifically to bring together the best one hundred and fifty knights of the realm together at one magical table in a brotherhood dedicated to the ideals of chivalry. The characters presented herein are not all, but only the best and most famous of the Knights of the Round Table. Since most of the characters in Pendragon are knights, or friends and companions of knights, much more detail, and greater overall volume, is given to them within the text. Some of these names may be less familiar to the general reader, but their inclusion will delight the fan of Arthurian literature and Pendragon roleplaying alike. You can finally see how your players' best knights would fair in the joust versus Lamorak, learn why Dinadan's humor makes him a great companion for an adventure, and to avoid, where possible, Sir Kay's almost intolerable sarcasm. Ladies of the Lake Mysterious women of great power. Many people are barely aware that there is more than one Lady of the Lake (the name often summons little more than the image of a sword held aloft by a disembodied arm). This section includes a description of what little we know about this secret sisterhood, such as their ties to mysterious Avalon, and the known and reknown members of the order, including Viviane and Nimue. The Panopoly This section details many miscellaneous famous and infamous personalities who are not direct members of Arthur's court. These include: * Foreign Kings and Dignitaries * Ladies of the Land * Christian Clergy and Saints * Enchanters and Enchantresses * Truly Total and Scurrilous Villains * Other Notable Personages How Can I Use The Courts of King Arthur? A Discussion on the Dramatic Use of the Canonical Arthurian Characters There are many ways to apply the information presented in this book. The author considered the following reasons for using this book, yet imagines many other potential applications: * An overview of Arthurian saga through the dramatic themes of major characters, rather than via the narrative plot. * A resource for archetypal Arthurian character, plot and thematic treatments. * A resource for nonplayer characters in a traditional Pendragon roleplaying game. * A resource for player characters in a non-traditional Pendragon roleplaying game, where players take roles of canonical Arthurian characters. Dramatic Treatment of Characters Pendragon offers the roleplayer opportunity to define characters in terms of personality to a far greater measure than other games. Not coincidentally, it is often these subtleties of character which are the true strengths of the personae in Arthurian literature. For example, powerful characters such as the Round Table knights are close peers in quality (though a rough heirarchy of ability does exist) and wear such uniform battle gear as to make them virtually indistinguishable except for their heraldric devices. Instead, learn to describe differences in their personal behaviours and beliefs - not skills, abilities, or possessions. For instance, though one would be free to have a "Sir Lancelot" ride boldly into a tourney proclaiming his martial prowess, curse his King and God, flirtingly accept a woman's favor, and then mercilessly slaughter yielded foes in the melee, this is no longer any Sir Lancelot consistent with any story we know of him! Indeed these behaviours could all be described as antithetical. This is a dramatic imposter, regardless of whether his game statistics match those printed in this book. Therefore, it is vital to familiarize yourself at some level with the personalities of King Arthur's court before inserting these characters in your roleplaying game. You will find the more you apply and personalize the traits and quirks of these characters, the richer and more satisfying the roleplaying experience. A Literary Example of the Subtleties of Character Meliagaunt and a wounded Lancelot fought long over the fate of Guenever. They were both strong, well-trained knights. As Cretien de Troyes described: "Not bothering with threats, they deal each other mighty blows with their steel swords, displaying their great mutual hatred. Time and again they catch helmets and shining hauberks so savagely that pieces of metal fly, and the blood spurts after them. They fight an outstanding combat, stunning and mangling each other with wicked, heavy blows. They vie in launching at one another many fierce, hard, long attacks, so that the spectators were unable to tell who was winning or losing." - from Lancelot, Le Chevalier de la Charette This serves a great example! Near equal in martial ability, the difference between the two knights is largely one of personality. Whereas Meliagaunt is driven by jealousy and lust in his abduction of Guenever, Lancelot is motivated by loyalty and love of his lady. These are not mere labels either, but are traits proven again and again by actions of these two knights, recognized by many. Lancelot is widely loved and regarded for his virtues. He is thereby often rewarded through the assistance of his friends and admirers. Whereas Meliagaunt is treacherous, brooding; he becomes an outcast and is rebuked even by his own father for his deeds. The fight turns, in fact, upon the difference in the personality traits and passions of these two knights: when Lancelot looks and beholds Guenever's adoring face, he is impassioned by her in a way Meliagaunt could never be. With his new-found strength, Lancelot quickly defeated Meliagaunt, and being true to his character - rather than slay Meliagaunt outright (which he has a perfect right to do) - forced him to yield instead. Using Canonical Arthurian Characters in Pendragon The positive dramatic value these famous characters can bring to a Pendragon campaign cannot be overestimated. Likewise, their misuse can unbalance the entire course of a narrative or campaign quite quickly and easily. Therefore, a brief overview of the effects such characters can have on a Pendragon game is in order. Also, if you are interested in creating a Pendragon campaign where players assume the roles of the canonical characters, special guidelines are given below. All of these characters are extremely powerful, in game terms, compared to average or even good player characters. Many possess or embody heroic, supernatural, divine or magical qualities not as skills they have learned, but as part of who they are on a mythic level. Yet they are still all mortal characters, with human frailties and foibles. These are characters of literature, and are involved with bodies of pre-existing plotlines and relationships that range from normal human affairs to epic adventures that players and gamemasters are free to interpret, interact with, and by their actions, potentially alter. Care should be taken in the use of these characters in your game to ensure they do not unduly balance the level and type of play you are familiar with, or alter your campaign's progress in dramatically undesirable ways. Players who accidentally or purposefully make radical effects to the lives and situations of these famous characters can incur cascading effects on your campaign (which you may wish to actively encourage or discourage as you see fit). Regardless of intent, both gamemasters and players alike should consider and be prepared to deal with such potentialities. Those characters fortunate enough to have the aid and friendship of any of these characters will find their fortunes rise. Those who draw or unwittingly spark the enmity of others may find life intolerable. Surely, and in any capacity, their inclusion in your Pendragon game will have profound and lasting effects. Since the latest edition of Pendragon also expanded the possibilities to play non-knightly roles such as women, clergy and magical characters, many characters presented herein may prove invaluable as ideal friends, companions, paramours, patrons or protectors. For players of Pagan Shores or Beyond the Wall, these mostly British characters may represent potential foes to Irish and Pictish cultures, or useful allies in your character's or clan's efforts against traditional foes. Players can also find themselves caught up in the rivalries between various factions, clans and individuals, such as the intermitent feuding of the de Gales and Orkney clans. There are also less-sympathetic and outright hostile characters in these pages. Through their treatment, one may come to understand why King Mark, Sir Turquine or Breunis Saunce Pite are so widely reviled. And perhaps, they might come to better understand the minds and motivations of such enigmatic sisters as Morgan le Fay and Queen Margawse. Using Canonical Characters as Player Characters Why should the non-player characters have all the fun? Once you have the character sheets and dramatic treatments for King Arthur, Merlin, Guenever and Lancelot, you could play these characters yourself. After all, don't they have the most exciting adventures, and the best-defined personalities? Creating an adventure or campaign using the canonical Arthurian characters is quite easy to do: all of the necessary game materials are presented herein, and ideas for adventures abound in Pendragon, other Pendragon game supplements from Chaosium, and in countless other sources for the Arthurian genre. Yet the most important keys for the success of such a game lie within your own imagination. Theme First, you and your players must decide what the dramatic theme of this particular adventure or campaign is. Are you trying to create the sense martial tension during Arthur's wars of unification, the spirit of joy and unity at the Round Table during the height of Arthur's reign, the soul-searching introspection, frustration and redemption of the Grail Quest, or the political and social intrigue during the latter days of Arthur's reign? Each of the five Pendragon phases or periods (see Pendragon, page 9) provide dramatic differences for how players should generally think and behave, and give overall background for plots and adventures. Character Mix There are many canonical characters to choose from. Some, like Arthur and Lancelot, are central to any Pendragon campaign. These characters are the best known and therefore offer the player great ease to fit into the role, since we know their "character hooks", their natural beliefs and behaviours. Yet this well-known nature requires adherence to that structure. Improvising or roleplaying some of their actions may result in seemingly unnatural and unfitting results for the central characters. For example, the gamemaster tells the player in the role of King Arthur the Duchess of Milan wished to parlay for the surrender of her city. If Arthur refused her entreaties, and sacked the town instead, we would wonder if this were actually King Arthur or Theodoric the Goth in disguise! Arthur's role is quite well defined as a magnanimous and honorable king, and deviations from characteristic behaviour should be strongly discouraged. Because of this, central character roles are magnificent to play for those enthusiastic about adhering to strongly-defined character traits, but may be constraining for players seeking more freedom in their actions and behaviours. Other characters, like Sir Dinadan, Ector de Maris, or the Lady of the Lake Nimue, are less defined and more peripheral to the action. Playing these characters allows greater freedom for you to interpret and improvise their personalities. The gaps in their narrative - missing pieces of characters' lives - allow you to create and participate in more non-canonical adventures. For instance, Nimue's family history is never recorded in literature, and we can only wonder what her young life was like: years of training to become a Lady of the Lake, and the day she first encountered her mentor, Merlin. Players may wish to research and discuss with their gamemaster how to cover such questions beforehand if they are deemed dramatically important to the game. Dramatic Tension Some characters are natural allies, like the Orkney brothers. Others are antagonists, like Palomides and Tristram. Consider whether the dramatic tension for your adventure or campaign will be within the group of player characters you choose (the players are competitive), or whether the dramatic tension exists beyond the group of player characters (the players are cooperative). Both situations provide enjoyable roleplaying experiences, but in highly different ways. Also consider if it's appropriate for players to keep their origins private to begin with. This occurred quite often in the literature, and can add an air of intrigue to your game. For instance, you might know the other player as the "Red Knight", and only through play discover whether it is indeed Percivale rather than Sirs Perimones or Ironside. Ground Rules Tremendous opportunity for fun and interesting roleplaying exists as long as the gamemaster and players all share the same expectations and agree on overall ground rules for their adventures or campaigns. Otherwise, surprises can become quite unhappy events. As a gamemaster decide which, if any, ground rules you wish for your game. For instance, you might state as a standing guideline that you'll freely and conciously alter or disallow players from taking certain actions based upon knowledge of the literary plotline, or which would otherwise severely limit or alter the progress of the campaign. For instance, if Lancelot scores a particularly nasty critical hit against Mordred in the Peningues Tournament melee, which would kill Arthur's illegitimate son, you might want to interpret the rolls so Mordred is not killed, but badly wounded instead, since Mordred's early death would severely alter the course of the rest of the Arthurian Cycle. Indeed, such a reinterpretation would enhance the plot, since it would serve as explanation for Mordred's jealousy of Lancelot, and establish his desire for retribution. Where possible, doing what makes for the best story while staying true to character will bring pleasing results. When unresolvable situations arise, the gamemaster might allow a replay of the situation (varying referred to as a "mulligan" for a dice roll, or a "take-two" for dramatic roleplay) and see if the new outcome proves more satisfying. Alternately, the gamemaster may take the opposite tack, and run a "no holds barred" game, where any significant changes to the plot taken by the players will not be corrected by gamemaster fiat. So if, for example, Arthur gets killed at Badon Hill in 519 AD, would a 24-year-old Gawaine be ready to take over as Pendragon, facing a tough campaign brewing against the Angles and Picts? Could he conscience having to rely upon his clan enemy - King Pellinore - for military support? What would be the fate of widowed Guenever? Would she still be Queen, with Gawaine as her Dux Bellorum? Would she happily remarry Lancelot when he arrives in Britain six years after Arthur's death? Such is life when chaos reigns! These types of game lead to completely wild variations for Pendragon, and both gamemasters and players should be aware such campaigns can evolve or devolve very rapidly. Selection of Adventures The best-known adventures in the Arthurian legends can be recreated when players assume the roles of the canonical characters. Yet care must be taken in the exact subject of adventures selected for play, since often times the dramatic possibilities of the subject matter, combined with player familiarity and interest with the details of the adventure, may make the difference between an exciting recreation of a famous story, or a "ho-hum-been-there-done-that" evening's play. Adventures best suited to play are those where the outcome does not hinge upon a single piece of information, or which are static situations or tableaus whch are necessary for the exposition of the story in literature, but have little application to a roleplaying or game situation. Also avoid situations where a character acts alone and in a predictive manner to an eventual goal. Though exquisite in detail when read, often there is little "game" in these situations to "roleplay" through. An example of good subject matter would be a major tournament. Players have many opportunities to take initiative, interact in with other players, work through situations or discuss courses of action, some of which may also be decided through a random roll of a die. Such dynamic adventures will be more exciting for you to run and for your players to play. The Role of Society and Rank "'Upon my word, you are Parzival!' said she of the red lips. 'Your name means "Pierce-through-the-heart." Great love plowed just such a furrow through your mother's heart. When he died, your father left sorrow for her portion. It is not to boast that I will tell you, but your mother is my mother's sister, and I will tell you plainly who you are. Your father was an Angevin. On your mother's side you are a Waleis (Welshman) and born of Kanvoleis. I know for a fact that you are King of Norgals (Norgales) too and by rights should wear a crown in the capital city of Kingrivals (Caernarvon).'" - Sigune informing Parzival of his heritage, from Wolfram von Eschenbach's Parzival The Influence of Society Many Arthurian tales revolve around a character attaining, maintaining, or reattaining a rightful place in society. The society itself is often a character, like a Greek chorus: the vox populi (pardon the Latin) commenting on the progress of the hero or heroine, supporting or declaiming them as society is wont to do. Similarly, the society is connected to the character, and becomes part of that character's circumstances and abilities. Glory and Honor are two statistics in Pendragon which directly affect and reflect a character's place in society. Others are not as statistically quantifiable: blood relations and other societal positions. Characters with high Honor and Glory find themselves helped along even by strangers. Those of high position find assistance from those who honor their office, even if not the individual. Aid comes to them from those who recognize their noble character or position. Those who have the converse - low Glory and Honor, or are of low rank or birth - are seen as miscreants and treated as such. Those with high Glory yet very low Honor are recognized as true "glory hounds." These kind of people are most likely interpreted as vainglorious and not to be trusted, since their character reflects someone out for personal credit and advancement. They often find their presense tolerated yet unwelcome Those with truly high Glory or position and little or no Honor are seen as infamous villains. Lastly, those with high Honor but little Glory or a low position, such as priests, pilgrims, young lads or maidens, are often helped by those wishing to see the success of such good-natured yet unknown individuals. On Ranks and Peerage In many Arthurian tales, even if a character is of equal or better skill, or displays more noble attributes than one's fellows, he or she may not necessarily be considered a peer. This word implies a nature of standing in society, and is often determined at birth or through formal and recognized acheivement. In Medieval feudal society, most people believed each person was born into a particular class, which determined the heights you aspired to, and who was acceptable for you to associate with: your peers. In some cultures, the Pagan Irish for instance, birthrank meant little, and one could move between social ranks as a result of personal circumstance and action. Regardless of mobility, such positions indicate the de facto state of infeudation and social responsibility of the character. A commoner may seem an easy target in such a world of heirarchical power, but every commoner has a Lord or Lady, and has the right to call upon them in need. Lords or Ladies may think themselves the most privileged and free class, yet they depend upon the loyalty and good will of their subjects and retainers. Those that fail to remember their place and duties in society tend to fall victim to their own umbrage or negligance. As well, each of these stations have specific behaviours and protocols, which must be observed. Knights must defend the weak and innocent, and champion their liege's and lady's honour. Kings require strength in time of war, yet must also show mercy and good judgement. Gentlewomen must be industrious as well as uphold and promote virtue. Everyone has his or her own rank and commesurate duties. And the higher the class, the greater the public scrutiny of behaviour. Practical Uses of Society and Rank Characters generally associate with members of their own social rank. Player characters are therefore usually in the company of the lowest rungs of the upper classes: bachelor knights and warriors, gentlewomen, priests and magicians. The characters presented in this book are of extremely high position and power in the world of Pendragon. Though it should not be impossible, it should be a special occasion to encounter these characters. Overusage of such highborn and famous characters can easily jade or discourage your players, or cheapen the dramatic effect of the character. For example, though it would be nice to have someone of Sir Lancelot's stature along on every adventure the players undertake, you might discourage players from overly relying upon his patronage. Lancelot is a prime target for such ready abuse. Looking at his skills, his noble traits, his great Glory and Honor, one immediately realizes why he is sought out by everyone on Logres for his aid! Is it no wonder he often rode off in disguise to avoid the deluge of sychophants and plaintive voices of court. The same reasoning must be applied when considering using these characters in your Pendragon campaign. Besides the logistical impossibility of Lancelot's availability for every player adventure, his character sheet provides other means to guide good usage. Review of Lancelot's passions reveal where his heart and his constant service lies: in direct aid to his noble King Arthur and in secret assignations with Guenever. Duties on behalf of his fellow Round Table knights and his de Ganis kinsmen would be undertaken next. He would scarcely have time to adventure on behalf of the player characters. In this case, society's constant demand for Lancelot's abilities and it's gossiping scrutiny of his personal life cause his inaccessibility. Similarly, any appeals to other characters presented in this book should only be possible or likely in circumstances when the plots and passions of the famous personage intersect with those of the player characters. However, if and when a character of stature such as Lancelot is encountered, all the tales of his personal honor and chivalrous spirit should be confirmed. His rare appearance accentuates the game by brilliant display of true gallantry. Another way to distinguish play between the characters in your campaign and canonical characters are by use of more formal protocols for dramatic effect. Encounters with any higher authorities require certain protocols. Think twice before approaching a character of higher station without the appropriate show of honor. This even applies to characters of negligible social approval but high social standing. For example, though King Mark may be highly reviled, he is still King of Cornwall. Though he may not be due respect because of his varied villainy, his office commands a certain respect. Any callous lout making snide remarks within earshot of this cunning monarch (and Mark has keen ears) deserves to get tossed out of court - or into a prison cell! The dramatic opposite can occur if players wish not to befriend a famous personage, but rather to conciously or unconciously cause harm, or otherwise try to alter the Arthurian Cycle's plotline by encounters with the major characters. This can have dramatic effects upon a Pengragon campaign. For example, characters may wish to actively affect Sir Mordred's life to prevent his disruption of Arthur's realm, and even prevent the tragic battle at Camlann. Alternately, characters might through circumstance joust with Mordred at a ford, and through odd fortune, end up scoring a blow critical enough to kill him. There are many ways to deal with such issues. Some are described above in "Ground Rules" for using canonical characters. Again, the best course is always via prior agreement between the player characters and the gamemaster to avoid such abuse of outright out-of-character knowledge and action. Feel free to establish ground rules, such as the ability of the gamemaster to intervene in the plot if events progress in a disagreeable manner for key characters or plotlines. The Matter of Kinship Direct and Indirect Relationships to the Great Clans of Britain Five clearly-definable major clans lay behind the central characters of the Arthurian legends. In some way, they are all related to the family or followers of Joseph of Arimethea, the Biblical figure who mysteriously also occurs in Arthurian literature, and to whom is attributed the bearing of the Holy Grail to Britain. (See the table The Lineages of Arthurian Britain from Joseph of Arimathia and his Companions.) Though there are other great lineages and personages in Arthur's Britain, those directly or indirectly descended from Joseph and his fellowship are the greatest by far. The Five Major Clans The specific clans covered within The Courts of King Arthur are as follows: * Pendragon * de Ganis * The Orkneys * de Gales * The Grail Kings Each of these clans are literal and symbolic representatives of different major nations and peoples in Arthur's realm, and each exhibit different specific personal characteristic traits. Indeed, just being directly or indirectly related to these great families grants the individual a certain stature (measured in an award of Glory), innate skills or qualities, and very pronounced characterization in terms of Traits and Passions. Guidelines are given to help provide a context for using each of the clans in a roleplaying setting. Rules are provided to show the benefits granted to direct and indirect members of each of the major clans. As well, these modifiers and bonuses are already applied to the character definitions found in the later chapters of this book. A "Sixth" Clan and Other Families The astute reader will notice the selected clans are defined mostly through the male members of their lineages. This is due to the historic fact that Arthurian legends were stories of knights, and therefore the treatment of men, male characteristics, and masculine ideals (especially the code of Chivalry) predominated. The Arthurian legends do have one "clan" that is based around its female members: the Dame Igraine and her three great and powerful daughters Margawse, Morgan le Fay and Elaine of Tintagel. Yet though all royal queens and direct family members, these women do not share personal traits to the same degree that the knightly male-based clans do. Yet if anything, these women embody the traditional Celtic mythic ideal of the woman representing the sovereignty of "the land," as opposed to the male, Pendragon ideal of sovereignty of the "nation". See the Pendragon clan for more details. Also, though no game mechanics are presented for the family of the Dame Igraine, feel free to interpret this concept into your own Pendragon game in terms you see fitting. As well, there are many other clans in and around Britain during Arthur's reign beyond the five presented herein: the royal lines of Ireland, the related families of Lyonesse and Cornwall, the continental Romans, Franks and Bretons, plus the nascent nations of the Angles, Saxons and Jutes, among others. It would be quite easy to apply the guidelines below to any other dynastic family you have particular interest in. Yet keep in mind the five clans presented below are the greatest in the Arthurian world. Your personal treatments should reflect the fact that all other families fall below these in stature, innate qualities, and pronounced characterization. Are You Any Relation to...? Any character who can trace direct lineage to these clans benefits from the noble blood in their veins, and also exhibits the characteristics common to their kin. For purposes of your Pendragon game, unless you choose to play "canonical" characters directly, there is no chance of having a character directly related to the great families, since their fathers and mothers, brothers and sisters, and children (or explicit lack thereof) are already well reknown and chronicled. However, there is a greater, though still rare chance of being indirectly related to these clans: second cousins or greater, or even being illegitimate children. As well, marriage (any traditional religious rites, Christian or otherwise) sacredly and mysteriously binds families together, so marrying a member of the great clans also imparts certain benefits to the person fortunate enough to make such a union. There are often drawbacks to kinship as well, since there are many jealous people who hate and despise the noble friends and companions of King Arthur, and fierce rivalries exist between the great clans themselves. Only characters who are sons or daughters of a Lord or Lady from the homelands of these clans (see below) are eligible to be legitimate or illegitimate members of these clans. The Grail Kings have no illegitimate children. Any requests to create characters related to the great families must be explicitely approved or assigned by your Gamemaster, as such kinships will greatly affect the course of play. Marriage into one of the great clans can only be accomplished during play. For male characters, this will often include years-long quests to be considered worthy of joining the clan by the kin of the lady, as well as tests given by the lady herself to ensure the knight's true love. For female characters, it may involve years-long pursuit of the attention and testing of the devotion of one or more of these great men, for they are all adventurous knights, and often love the quest above anything (or anyone) else. Alternately, she may find that attention from a knight from one clan may draw the jealous attention or ire of a knight from another. Above all else, being born into or marrying into these clans are reason enough to be granted great Glory, and characters will often find within themselves a greater measure of natural Honor. Parallels of Secular and Spiritual Life While the Arthurian tales are mostly those of individual prowess, knighthood and chivalric adventure, a great body of the material is imbued with allegory to the larger events in the world, and appeal to the medieval and modern mind on many levels. The original tales were written at times of great cultural change, and though these are often forgotten, reinterpreted or obscured by modern mind, such associative meanings would not have been disputed or lost upon the original authors or audiences. In a way, each of the clans represent a body of beliefs common to the culture from which their clan emerges, which can be interpreted at the secular/political and siritual/religious level. A short section has therefore been given for to summarize the allegorical beliefs associated with each of the clans, dubbed the "Theme" of the clan. Though these may seem unsubtle and highly generalized, reflection and research upon the subject reveals the concept of a Clan Theme holds up remarkably well. Besides quickly differentiating the clans, they offer clues why each one was favored in the corpus of Arthurian legend at various historical times. Black Sheep, Bastards, and Ugly Ducklings Every family has certain members that stand out as atypical examples of the clan. Though the terms used to explain the origin and behaviour of such individuals are often derrogatory, there are many examples of characters who transcend the archetypal foibles of their kinsmen. Others stand out as remarkably bad apples in an otherwise spotless crop. Regardless of the manner or reason they differ from their relations, these individuals exhibit quite different traits and passions than the ones normally associated with their kin. If you wish to create characters who are members of the great clans, yet exhibit exceptional traits or passions, remember medieval belief usually tied such differences to the nature of the birth or upbringing of the individual, and such differences heralded either fated greatness, infamy or obscurity for the individual. If you wish to use this with characters of your own creation, try to incorporate stories of unique origins into the character to explain why they are different from the rest of his or her clan. Within each clan section below are example characters one might consider to be atypical of their clan, with explanation regarding how this can be interpreted into Pendragon game terms. - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - [See separate clan sections for details -- Peter. 12/2/96] - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - Fraternity & Sorority A New Perspective on Familial and Communal Passions in the Age of Chivalry Many passions exist beyond those already modelled in Pendragon, namely "Love," "Amor," and "Loyalty." One example are familial bonds biologically-related individuals had for each other. Another is the familial bond many medieval social groups had amongst their non-biologically-related members. Using only the previously-defined passions of "Love," "Amor" and "Loyalty" cannot truly reflect the subtleties of these relationships. For instance, should Knights of the Round Table get a "Love (Round Table Knights)," or a "Loyalty (Round Table Knights)" ...or both? Neither really expresses the type bond the knights had for each other. Nor do "Love" or "Loyalty" adequately describe the feelings of mutual admiration the great ladies of the court shared, such as between Guenever and La Beal Isoud. Likewise, opposite-sex bonds cannot always be summed up as senses of "Love", "Amor" or "Loyalty." "Love" assumes affinity, but implies a romantic connotation. This is clearly not what most of the original authors intended when two Christian knights kissed and hugged upon greeting, or when it was said that two ladies loved and respected each other. Instead, their "Love" was more mutual esteem. These were familial affections. Brother knight for brother knight. Great damosels treated each other as sisters would. Neither would "Loyalty," which usually implies a vassal/lord, or child/parent relationship, with one in the superior and protective role, and the other in the inferior and supported role. One can be "Loyal" to a wife, a Lord, to one's vassals, to an ideal, or perhaps even to a brotherhood or sisterhood. But this is a bond of responsibility, and not necessarily one of mutual affinity. For opposite-sex relationships, "Amor" implies a chaste, platonic yet discretely romantic or flirtatious relationship. A good traditional Christian would be aghast of a knight having an "Amor" for his own biological sister, not to mention a knight for his fellow knight. Though these sorts of relationships could make for some very hightened dramatic tension, we must put sexual political debates and revisionism of the classics aside, since this is clearly not what the original authors intended when they talked of these brotherly or sisterly affections. A familial passion, such as "Fraternity" or "Sorority" lies somewhere between these other aspects of love, affection, and loyalty. Definitions of Fraternity and Sorority Fraternity is a sense of "brotherhood", Sorority is "sisterhood". They represent the familial love of one's peers. Sometimes such bonds are natural, such as the Orkney brothers, or the daughters of the Dame Igraine: Margawse, Morgan, and Elaine. But often, they are societal (not biological) brotherhoods and sisterhoods. In most cultures around the world, families and other social groups have various customs and rites marking various milestones on the way through life or advancement in the group. They usually require an initiation rite, or other common shared experience to create or mark the bond between the individuals. As well, they often have rites of passage, challenging one's worthiness and marking advancement within the group. These can be formal or informal, secular or spriritual. In Pendragon, many of the general societal and knightly passions of communal affiliation can be subsumed in a character's "Honor" - their sense of Chivalry. "Fraternity" and "Sorority" are reserved more for bondings to specific groups or individuals within the character's life, such as their genetic brothers and sisters, their clansmen or kinswomen, their knightly, religious or magical orders, etc. It is up to the gamemaster to determine whether the relationship is a familial one of brotherly or sisterly devotion and affection. For some key individuals or groups within the character's life, complex feelings of familial affiliation may have to be broken down more to specific passions of "Love", "Amor" and/or "Loyalty". Rules for New Pendragon Passions FRATERNITY (Individual or Brotherhood) and SORORITY (Individual or Sisterhood) These are passions marking both an affinity and loyalty between a character to another character (Individual) or group of characters of the same sex (Brotherhood/Sisterhood). Fraternity and Sorority can also express a kind of "brotherly" or "sisterly" love that is different than a Chaste Amor or Loyalty to an opposite-sex sibling or friend. It could, though, subsume them both. Fraternity and Sorority are for characters who would like to sum up their feelings towards an individual or group in a single Passion. Good candidates are those who take vows in a religious, knightly or mystic order, or those who pledge their words and deeds for a long-time cause (such as Grail Questers, or Queen's Champions, etc.) The passion can be generated by converting any existing Love, Amor or Loyalty passion to a Fraternity/Sorority passion of the same value (which then subsumes all of those ideals). Players who prefer to maintain their character's passions separately are free to do so. Example: A brother might not wholly Love his fellow brothers, but would be supportive of their cause because of his familial Loyalty, or vice versa. Many a clansmen of the Highlands would appreciate this sentiment. The opposite can also be true: Gareth, for instance, loved his family but would not take part in his brothers' murder of Lamorak or the attempted burning of Guenever, showing greater Love than Loyalty for his family. In such an instance, Gareth would maintain separate Love (Family) and Loyalty (Family) passions. Importance of Rites Initiation Rites and Rites of Passage mark most communal (non-genetic) groups, such as Fraternities and Sororities. * Rites of Passage often revolve around performing solo or group tests or adventures to prove worthiness to join or advance with the group. * Initiation Rites are public and/or private ceremonies to welcome the individual to the group, or to a new level within the group, following a successful Rite of Passage. Mutual vows and pledges are exchanged by the new member and the group. Testimonials are often given by the individual, or on behalf of the individual by the sponsor or other witnesses to the Rite of Passage. Rites are often proceeded or followed by the identification of a sponsor to assist the individual who wishes to join or further advance within the group. The more elder or senior the member, the more prestigious the sponsor. At the foundation of a new Fraternity the Passage and Initiation Rites are often taken en masse by the founding members. As well, often powerful or important shared events serve as Rites of Initiation or Passage. For instance, a group of young knights might all become brethren after fighting "for real" for the first time in a particularly important, bloody and decisive battle. This battle serves as a Rite of Passage. Afterwards they gather together, share their stories, praise their good fortunes, and pledge to each other to provide mutual aid, friendship and support in future times of peace and war. This serves as their Rite of Initiation to each other. A new Fraternity is formed. Often the more dire (life/death) and profound (ephemeral/ soul-shattering) the Rites, the more personally pronouced and binding it will be to a character, and summarily the higher the passion will be in general. As well, over time during play, a character's actions towards their Fraternity or Sorority might alter the Passion's value. To convert existing Love, Amor and/or Loyalty to Fraternity/Sorority (Individual/Group) The gamemaster must decide whether it is appropriate for the passion(s) to be converted from an existing Love, Amor or Loyalty to a Fraternity/Sorority. In general, the relationship must display both an affinity (love) and sense of responsibility (bond) between the characters. As well, the relationship should exhibit ideal traits common to familial siblings. If the passion is for a societal (non-biological) relationship, the gamemaster should also decide whether appropriate Rites of Initiation or Passage have been accomplished. Remove the existing Love, Amor, and/or Loyalty with Fraternity/Sorority. (If a character wishes to maintain these separately, they cannot also have a Fraternity or Sorority to that Individual) Starting Fraternity/Sorority (Individual/Group) = Same as higher value of the replaced Love, Amor or Loyalty To create new Fraternity/Sorority (Individual or Group) Characters may generate Fraternity or Sorority passions during play for various reasons. Here is a general description of how to generate the character's passion Base Roll = 3d6 Modifiers to Roll (+10 Maximum): * Joining a Chartered Fraternity or Sorority +1 * Founding a Fraternity or Sorority as a Charter member +3 * Rite of Passage: Experienced life-altering adventure +1d3* * Rite of Initiation: Experienced life-affecting changes +1d3* * Participated in Secret Rite (Passage or Initiation) +1 each * Have similar tenets to Individual or Group (i.e., Religious or Chivalrous characters joining a similar Religious or Chivalrous group) +3 * For every 1000 Glory of Sponsor into group +1/1000 Glory, up to +5 Max * By the gamemaster's judgement of events. For instance, a Knight who fights a joust "for love" might not be a life-altering adventure for a chivalrous knight, since it is his nature. However, a villainous knight convinced to renounce his old ways, take up the chivalrous path, and to fight a joust "for love" to prove his change of heart might qualify. However, a chivalrous character who pledges to find the Grail or never return to court is certainly taking an action that is quite life-affecting, even it it is within the character's normal mode of behavior. Since interpretation of these events are highly subjective, it is left to the gamemaster's discretion as to whether to allow the modifier or not. Modifying Fraternity or Sorority during play Characters may take additional Rites of Passage or Initiation to further strengthen their brotherly/ sisterly bonds. If the gamemaster decides that the Rite is a significant one, the character may recieve a set bonus, from +1 to +3, or might instead roll a +1d3, etc. Learning a Secret Rite of a Fraternity or Sorority Failing in a Rite of Passage or Initiation neither increases or decreases the character's passion; they may make additional attempts to join at another time. However, being disinvited from a group (because of a dissagreement with the group or one or more individual members) might cause a reduction or elimination of the Fraternity or Sorority passion. Significant passions (values of 16 or greater) that are reduced or eliminated in this way can even generate a negative directed trait, such as "Suspicious (Individual/Group)". This would represent the character's disillusionment with the person or group they had held so dear. Sponsoring Others into a Group A character who sponsors a new member into a group, or a level within a group gains a +1 to their Fraternity after the sponsored member passes the Rites of Passage and Initiation. However, a character loses -2 if their sponsored party drops out of the organization (for instance, due to disillusionment). Creating Fraternities and Sororities: Histories, Heirarchies, and Hypotheticals Players and gamemasters alike are invited to research various historical fraternities and sororities, or invent their own: political, knightly, religious, magical, academic, commercial, racial and familial groups abound throughout the Arthurian period and literature. Of course, players are also free to invent their own. Organization & Description To define a group, a few basic questions should be asked: What is the nature of the group? Is it genetic (family or clan), or political (based on faction or geography), etc. What are the commonalities of the group? Is it limited to members of the same sex, or can men and women participate as equals? What are the limitation to the scope of the group? Is it secret or public? Or is it a public group with secret rites? How do members identify themselves and each other? Where do they meet, and what do they do when they meet or are away from their meetings? Charters To create a new group a formal or informal Charter can be devised. Not all groups have charters, but if one is drawn up, it often allows other members to more clearly understand the nature and scope of the organization, as well as the duties and benefits to each of the members. A Charter is a statement of the various purposes, missions, and goals of the group. All members of the group should be familiar with charter of the group. Example: We are the Knights of the Grail Quest. Our goal is to acheive the Holy Grail. We purpose to find it for King Arthur, so that it may heal the deep wounds of the land. Our mission is to search for it until such a time as we attain it, or lose our lives on this Earth in the attempt, and reach the Kingdom of Heaven. Rites Rites of Passage or Initiation can become formal and documented by players or gamemasters. Different levels or circles of initiation can be devised. Fraternity or Sorority secrets can be described, including the manner in which they are passed along, and the meaning, significance or illuminating element they contain. At the same time, smaller, less-formal familial bondings can work without similar pomp and circumstance. Genetic brothers and sisters do not need any secret handshake to pass a secret, knowing smile recalling an event only they shared. Kinswomen do not require any formal by-laws to properly welcome a young maid into adulthood at the time of her wedding day. Fraternities and Sororities as passions are meant to be used sparingly, when appropriate to the character, the storyline, and the culture of the world of Pendragon. Roles, Responsibilities, Offices & Bylaws Large organizations might be quite political. Only groups that wish to need maintain such formalized positions and behaviors. However, maintaining a role or office might garner Glory or Insight on a periodic or event basis. Certain duties or bylaws might also restrict a character to a certain course of action, which can act as the basis for many adventures. A Note of Caution Use Fraternities and Sororities sparingly. Gareth under these rules, for instance, might have a "Fraternity (Knights of the Round Table)," and "Fraternity (Orkney Clan)" However, in later years, his fraternity for his brothers might lessen or break up into two lesser passions of Loyalty (Orkney Clan) and Love (Brothers), as shown in the example above. A character having too many affiliations might find themselves stretched too thin to perform all of the associated duties of the different groups. Never underestimate genetic affiliations as well! For instance, participating in a tournament with your fellow knights might gain you a few points there, but missing a brother or sister's marriage might lessen your standard with your "own blood."