Terry Bishop is a man of many parts. He lives with his wife Julie in Andalucia, Southern Spain. For 35 years he was a nurse, a social worker and a senior manager in Youth Justice. He worked on several important European projects and has contacts in many countries. In addition to some acting, he has produced two films on social issues.
A lifelong interest in worldwide history, exploration and discovery – ancient and modern – particularly of British forces overseas (France to the Falklands), both land and sea based has been supplemented by getting to the roots (and often the mud!) of the issues.
Terry has led groups of walkers/explorers across many of the battlefields of Europe – The Western Front; Gallipoli (Turkey), Waterloo; The Normandy Beaches and other Second World War Battlefields, and Agincourt, Crecy and Poitiers and Terry has explored the sites of battles wider afield – The Little Big Horn, The Zulu Wars, The Peninsular War, etc., as well as many sites in the United Kingdom.
Terry is an experienced presenter, aiming always to inform and entertain, using pictures to their ultimate advantage and incorporating humour, music and song in the presentations whenever possible. (Terry is an accomplished folk musician and entertainer.)
When not ‘lecturing’ on the high seas, Terry will be found singing and playing his guitar or banjo in and around his local area or working around their mountainside retreat and walking/guiding in the Sierra de Tejeda.
“I’ve trudged through the mud of Passchendaele and Hougoumont. I’ve sweated in the June sun at Vitoria, Talavera and the Little Big Horn.
I’ve mourned the dead at Isandhlwana and Rorke’s Drift.
I’ve been numbed by the losses at Verdun and Ypres.
I’ve cried ‘God for England and St. George’ at Crecy, Poitiers and Agincourt and I’ve walked the beaches of Omaha and Gold.
I’ve crossed the Rhine at Remagen and looked for a horseshoe nail on Bosworth Field.
I’ve seen battlefields, cemeteries and ossuaries by the score…..
..but it was the deadly beauty of Gallipoli that cut me deepest to the core…”
So why ‘Troubadour’ – a teller of stories and a singer of songs……..
A troubadour (Occitan pronunciation: [tɾuβaˈðuɾ], originally [tɾuβaˈðoɾ]) was a composer and performer of Occitan lyric poetry during the High Middle Ages (1100–1350). Since the word “troubadour” is etymologically masculine, a female troubadour is usually called a trobairitz.
The troubadour school or tradition began in the 11th century in Occitania, but it subsequently spread into Italy, Spain, and even Greece. Under the influence of the troubadours, related movements sprang up throughout Europe: the Minnesang in Germany, trovadorismo in Galicia and Portugal, and that of the trouvères in northern France. Dante Alighieri in his De vulgari eloquentia defined the troubadour lyric as fictio rethorica musicaque poita: rhetorical, musical, and poetical fiction. After the “classical” period around the turn of the 13th century and a mid-century resurgence, the art of the troubadours declined in the 14th century and eventually died out around the time of the Black Death (1348).
The texts of troubadour songs deal mainly with themes of chivalry and courtly love. Most were metaphysical, intellectual, and formulaic. Many were humorous or vulgar satires. Works can be grouped into three styles: the trobar leu (light), trobar ric (rich), and trobar clus (closed). Likewise there were many genres, the most popular being the canso, but sirventes and tensos were especially popular in the post-classical period, in Italy, and among the female troubadours, the trobairitz.
The name “troubadour” and its cognates in other languages—trov(i)èro and then trovatore in Italian, trovador in Spanish, trobador in Catalan—are of disputed origin.
The English word “troubadour” comes by way of Old French from the Occitan word trobador, the oblique case of the nominative trobaire, a substantive of the verb trobar, which is derived from the hypothetical Late Latin *tropāre, in turn from tropus, meaning a trope, from Greek τρόπος (tropos), meaning “turn, manner”. Another possible Latin root is turbare, to upset or (over)turn. Trobar is cognative with the modern French word trouver, meaning “to find”. Whereas French trouver became trouvère, the nominative form, instead of the oblique trouveor or trouveur, the French language adopted the Occitan oblique case and from there it entered English. The general sense of “trobar” in Occitan is “invent” or “compose” and this is how it is commonly translated. (In Latin the verb invenire meant precisely “to find”.) A troubadour thus composed his own work, whereas a joglar performed only that of others. This etymology is supported by the French dictionaries Académie Française, Larousse, and Petit Robert.
Not surprisingly, the Greek → Latin → Occitan → French → English hypothesis has been widely supported by those who find the origins of troubadour poetry in classical Latin forms or in medieval Latin liturgies, such as Peter Dronke and Reto Bezzola.