Bard

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Humming as she traces her fingers over an ancient monument in a long-forgotten ruin, a half-elf in rugged leathers finds knowledge springing into her mind, conjured forth by the magic of her song—knowledge of the people who constructed the monument and the mythic saga it depicts.

A stern human warrior bangs his sword rhythmically against his scale mail, setting the tempo for his war chant and exhorting his companions to bravery and heroism. The magic of his song fortifies and emboldens them.

Laughing as she tunes her cittern, a gnome weaves her subtle magic over the assembled nobles, ensuring that her companions’ words will be well received.

Whether scholar, skald, or scoundrel, a bard weaves magic through words and music to inspire allies, demoralize foes, manipulate minds, create illusions, and even heal wounds.

Music and Magic

In the worlds of D&D, words and music are not just vibrations of air, but vocalizations with power all their own. The bard is a master of song, speech, and the magic they contain. Bards say that the multiverse was spoken into existence, that the words of the gods gave it shape, and that echoes of these primordial Words of Creation still resound throughout the cosmos. The music of bards is an attempt to snatch and harness those echoes, subtly woven into their spells and powers.

The greatest strength of bards is their sheer versatility. Many bards prefer to stick to the sidelines in combat, using their magic to inspire their allies and hinder their foes from a distance. But bards are capable of defending themselves in melee if necessary, using their magic to bolster their swords and armor. Their spells lean toward charms and illusions rather than blatantly destructive spells. They have a wide-ranging knowledge of many subjects and a natural aptitude that lets them do almost anything well. Bards become masters of the talents they set their minds to perfecting, from musical performance to esoteric knowledge.

Learning from Experience

True bards are not com m on in the world. Not every minstrel singing in a tavern or jester cavorting in a royal court is a bard. Discovering the magic hidden in music requires hard study and some measure of natural talent that most troubadours and jongleurs lack. It can be hard to spot the difference between these performers and true bards, though. A bard’s life is spent wandering across the land gathering lore, telling stories, and living on the gratitude of audiences, much like any other entertainer. But a depth of knowledge, a level of musical skill, and a touch of magic set bards apart from their fellows.

Only rarely do bards settle in one place for long, and their natural desire to travel—to find new tales to tell, new skills to learn, and new discoveries beyond the horizon—makes an adventuring career a natural calling. Every adventure is an opportunity to learn, practice a variety of skills, enter long-forgotten tombs, discover lost works of magic, decipher old tomes, travel to strange places, or encounter exotic creatures. Bards love to accompany heroes to witness their deeds firsthand. A bard who can tell an awe-inspiring story from personal experience earns renown among other bards. Indeed, after telling so many stories about heroes accomplishing mighty deeds, many bards take these themes to heart and assume heroic roles themselves.

Creating a Bard

Bards thrive on stories, whether those stories are true or not. Your character’s background and motivations are not as important as the stories that he or she tells about them. Perhaps you had a secure and mundane childhood. There’s no good story to be told about that, so you might paint yourself as an orphan raised by a hag in a dismal swamp. Or your childhood might be worthy of a story. Some bards acquire their magical music through extraordinary means, including the inspiration of fey or other supernatural creatures.

Did you serve an apprenticeship, studying under a master, following the more experienced bard until you were ready to strike out on your own? Or did you attend a college where you studied bardic lore and practiced your musical magic? Perhaps you were a young runaway or orphan, befriended by a wandering bard who became your mentor. Or you might have been a spoiled noble child tutored by a master. Perhaps you stumbled into the clutches of a hag, making a bargain for a musical gift in addition to your life and freedom, but at what cost?

The Bard
Level Features Cantrips Known Spells Known 1st 2nd 3rd 4th 5th 6th 7th 8th 9th
1st Spellcasting (Bard), Bardic Inspiration (d6) 2 4 2
2nd Jack of All Trades, Song of Rest (d6) 2 5 3
3rd Bard College, Expertise 2 6 4 2
4th Ability Score Improvement 3 7 4 3
5th Bardic Inspiration (d8), Font of Inspiration 3 8 4 3 2
6th Countercharm, Bard College feature 3 9 4 3 3
7th — 3 10 4 3 3 1
8th Ability Score Improvement 3 11 4 3 3 2
9th Song of Rest (d8) 3 12 4 3 3 3 1
10th Bardic Inspiration (d10), Expertise, Magical Secrets 4 14 4 3 3 3 2
11th — 4 15 4 3 3 3 2 1
12th Ability Score Improvement 4 15 4 3 3 3 2 1
13th Song of Rest (d10) 4 16 4 3 3 3 2 1 1
14th Magical Secrets, Bard College feature 4 18 4 3 3 3 2 1 1
15th Bardic Inspiration (d12) 4 19 4 3 3 3 2 1 1 1
16th Ability Score Improvement 4 19 4 3 3 3 2 1 1 1
17th Song of Rest (d12) 4 20 4 3 3 3 2 1 1 1 1
18th Magical Secrets 4 22 4 3 3 3 3 1 1 1 1
19th Ability Score Improvement 4 22 4 3 3 3 3 2 1 1 1
20th Superior Inspiration 4 22 4 3 3 3 3 2 2 1 1

Quick Build

You can make a bard quickly by following these suggestions. First, Charisma should be your highest ability score, followed by Dexterity. Second, choose the entertainer background. Third, choose the dancing lights and vicious mockery cantrips, along with the following 1st-level spells: charm person, detect magic, healing word, and thunderwave.

Class Features

As a bard, you gain the following class features.

Hit Points

Hit Dice: 1d8 per bard level

Hit Points at 1st Level: 8 + your Constitution modifier

Hit Points at Higher Levels: 1d8 (or 5) + your Constitution modifier per bard level after 1st

Proficiencies

Armor: Light armor

Weapons: Simple weapons, hand crossbows, longswords, rapiers, shortswords

Tools: Three musical instruments of your choice

Saving Throws: Dexterity, Charisma

Skills: Choose any three

Equipment

You start with the following equipment, in addition to the equipment granted by your background:

Spellcasting 

 You have learned to untangle and reshape the fabric of reality in harmony with your wishes and music. Your spells are part of your vast repertoire, magic that you can tune to different situations. See chapter 10 for the general rules of spellcasting and chapter 11 for the bard spell list.

Cantrips 

 You know two cantrips of your choice from the bard spell list. You learn additional bard cantrips of your choice at higher levels, as shown in the Cantrips Known column of the Bard table.

Spell Slots 

 The Bard table shows how many spell slots you have to cast your spells of 1st level and higher. To cast one of these spells, you must expend a slot of the spell’s level or higher. You regain all expended spell slots when you finish a long rest. 
 For example, if you know the 1st-level spell cure wounds and have a 1st-level and a 2nd-level spell slot available, you can cast cure wounds using either slot.

Spells Known of 1st Level and Higher 

 You know four 1st-level spells of your choice from the bard spell list. 
 The Spells Known column of the Bard table shows when you learn more bard spells of your choice. Each of these spells must be of a level for which you have spell slots, as shown on the table. For instance, when you reach 3rd level in this class, you can learn one new spell of 1st or 2nd level. 
 Additionally, when you gain a level in this class, you can choose one of the bard spells you know and replace it with another spell from the bard spell list, which also must be of a level for which you have spell slots.

Spellcasting Ability 

 Charisma is your spellcasting ability for your bard spells. Your magic comes from the heart and soul you pour into the performance of your music or oration. You use your Charisma whenever a spell refers to your spellcasting ability. In addition, you use your Charisma modifier when setting the saving throw DC for a bard spell you cast and when making an attack roll with one. 

 Spell save DC = 8 + your proficiency bonus + your Charisma modifier
 Spell attack modifier = your proficiency bonus + your Charisma modifier

Ritual Casting 

 You can cast any bard spell you know as a ritual if that spell has the ritual tag.

Spellcasting Focus 

 You can use a musical instrument (found in chapter 5) as a spellcasting focus for your bard spells.

Bardic Inspiration 

 You can inspire others through stirring words or music. To do so, you use a bonus action on your turn to choose one creature other than yourself within 60 feet of you who can hear you. That creature gains one Bardic Inspiration die, a d6. 
 Once within the next 10 minutes, the creature can roll the die and add the number rolled to one ability check, attack roll, or saving throw it makes. The creature can wait until after it rolls the d20 before deciding to use the Bardic Inspiration die, but must decide before the DM says whether the roll succeeds or fails. Once the Bardic Inspiration die is rolled, it is lost. A creature can have only one Bardic Inspiration die at a time. 
 You can use this feature a number of times equal to your Charisma modifier (a minimum of once). You regain any expended uses when you finish a long rest. 
 Your Bardic Inspiration die changes when you reach certain levels in this class. The die becomes a d8 at 5th level, a d10 at 10th level, and a d12 at 15th level.

Jack of All Trades 

 Starting at 2nd level, you can add half your proficiency bonus, rounded down, to any ability check you make that doesn’t already include your proficiency bonus.

Song of Rest 

 Beginning at 2nd level, you can use soothing music or oration to help revitalize your wounded allies during a short rest. If you or any friendly creatures who can hear your performance regain hit points at the end of the short rest, each of those creatures regains an extra 1d6 hit points. (A creature regains the extra hit points only if it spends one or more Hit Dice at the end of the short rest.) 
 The extra hit points increase when you reach certain levels in this class: to 1d8 at 9th level, to 1d10 at 13th level, and to 1d12 at 17th level.

Bard College 

 At 3rd level, you delve into the advanced techniques of a bard college of your choice: the College of Lore or the College of Valor, both detailed at the end of the class description. Your choice grants you features at 3rd level and again at 6th and 14th level.

Expertise 

 At 3rd level, choose two of your skill proficiencies. Your proficiency bonus is doubled for any ability check you make that uses either of the chosen proficiencies. 
 At 10th level, you can choose another two skill proficiencies to gain this benefit.

Ability Score Improvement 

 When you reach 4th level, and again at 8th, 12th, 16th, and 19th level, you can increase one ability score of your choice by 2, or you can increase two ability scores of your choice by 1. As normal, you can’t increase an ability score above 20 using this feature.

Font of Inspiration 

 Beginning when you reach 5th level, you regain all of your expended uses of Bardic Inspiration when you finish a short or long rest.

Countercharm 

 At 6th level, you gain the ability to use musical notes or words of power to disrupt mind-influencing effects. As an action, you can start a performance that lasts until the end of your next turn. During that time, you and any friendly creatures within 30 feet of you have advantage on saving throws against being frightened or charmed. A creature must be able to hear you to gain this benefit. The performance ends early if you are incapacitated or silenced or if you voluntarily end it (no action required).

Magical Secrets 

 By 10th level, you have plundered magical knowledge from a wide spectrum of disciplines. Choose two spells from any class, including this one. A spell you choose must be of a level you can cast, as shown on the Bard table, or a cantrip. 
 The chosen spells count as bard spells for you and are included in the number in the Spells Known column of the Bard table. 
 You learn two additional spells from any class at 14th level and again at 18th level.

Superior Inspiration 

 At 20th level, when you roll initiative and have no uses of Bardic Inspiration left, you regain one use.

Bard Colleges

The way of a bard is gregarious. Bards seek each other out to swap songs and stories, boast of their accomplishments, and share their knowledge. Bards form loose associations, which they call colleges, to facilitate their gatherings and preserve their traditions.


Xanathar’s Guide to Bards

Music is the fruit of the divine tree that vibrates with the Words of Creation. But the question I ask you is, can a bard go to the root of this tree? Can one tap into the source of that power? Ah, then what manner of music they would bring to this world!

— Fletcher Danairia, master bard

Music is stupid. Wait. I changed my mind. Music is fun. Play more music. No, I was right the first time. Music is stupid. But I won’t maim you after all, in case I change my mind again.

— Xanathar

Bards bring levity during grave times; they impart wisdom to offset ignorance; and they make the ridiculous seem sublime. Bards are preservers of ancient history, their songs and tales perpetuating the memory of great events down through time—knowledge so important that it is memorized and passed along as oral history, to survive even when no written record remains.

It is also the bard’s role to chronicle smaller and more contemporary events—the stories of today’s heroes, including their feats of valor as well as their less than impressive failures.

Of course, the world has many people who can carry a tune or tell a good story, and there’s much more to any adventuring bard than a glib tongue and a melodious voice. Yet what truly sets bards apart from others—and from one another—are the style and substance of their performances.

To grab and hold the attention of an audience, bards are typically flamboyant and outgoing when they perform. The most famous of them are essentially the D&D world’s equivalent of pop stars. If you’re playing a bard, consider using one of your favorite musicians as a role model for your character.

You can add some unique aspects to your bard character by considering the suggestions that follow.

Defining Work

Every successful bard is renowned for at least one piece of performance art, typically a song or a poem that is popular with everyone who hears it. These performances are spoken about for years by those who view them, and some spectators have had their lives forever changed because of the experience.

If you character is just starting out, your ultimate defining work is likely in the future. But in order to make any sort of living in your profession, chances are you already have a piece or two in your repertoire that have proven to be audience pleasers.

Examples:

  • “The Three Flambinis” a ribald song concerning mistaken identities and unfettered desire
  • “Waltz of the Myconids,” an upbeat tune that children in particular enjoy
  • “Asmodeus’s Golden Arse,” a dramatic poem you claim was inspired by your personal visit to Avernus
  • “The Pirates of Luskan,” your firsthand account of being kidnapped by sea reavers as a child
  • “A Hoop, Two Pigeons, and a Hell Hound,” a subtle parody of an incompetent noble
  • “A Fool in the Abyss,” a comedic poem about a jester’s travels among demons

Instrument

In a bard’s quest for the ultimate performance and the highest acclaim, one’s instrument is at least as important as one’s vocal ability. The instrument’s quality of manufacture is a critical factor, of course; the best ones make the best music, and some bards are continually on the lookout for an improvement. Perhaps just as important, though, is the instrument’s own entertainment value; those that are bizarrely constructed or made of exotic materials are likely to leave a lasting impression on an audience.

You might have an “off the rack” instrument, perhaps because it’s all you can afford right now. Or, if your first instrument was gifted to you, it might be of a more elaborate sort. Are you satisfied with the instrument you have, or do you aspire to replace it with something truly distinctive?

Examples:

  • A masterfully crafted halfling fiddle
  • A mithral horn made by elves
  • A zither made with drow spider silk
  • An orcish drum
  • A wooden bullywug croak box
  • A tinker’s harp of gnomish design

Embarrassment

Almost every bard has suffered at least one bad experience in front of an audience, and chances are you’re no exception. No one becomes famous right away, after all; perhaps you had a few small difficulties early in your career, or maybe it took a while to restore your reputation after one agonizing night when the fates conspired to bring about your theatrical ruin.

The ways that a performance can go wrong are as varied as the fish in the sea. No matter what sort of disaster might occur, however, a bard has the courage and the confidence to rebound from it—either pressing on with the show (if possible) or promising to come back tomorrow with a new performance that’s guaranteed to please.

Examples:

  • The time when your comedic song, “Big Tom’s Hijinks”—which, by the way, you thought was brilliant—did not go over well with Big Tom
  • The matinee performance when a circus’s owlbear got loose and terrorized the crowd
  • When your opening song was your enthusiastic but universally hated rendition of “Song of the Froghemoth”
  • The first and last public performance of “Mirt, Man about Town”
  • The time on stage when your wig caught on fire and you threw it down—which set fire to the stage
  • When you sat on your lute by mistake during the final stanza of “Starlight Serenade”

A Bard’s Muse

Naturally, every bard has a repertoire of songs and stories. Some bards are generalist who can draw from a wide range of topics for each performance, and who take pride in their versatility. Others adopt a more personal approach to their art, driven by their attachment to a muse—a particular concept that inspires much of what those bards do in front of an audience.

A bard who follows a muse generally does so to gain a deeper understanding of what that muse represents and how to best convey that understanding to others through performance.

If your bard character has a muse, it could be one of the three described here, or one of your own devising.

Nature. You feel a kinship with the natural world, and its beauty and mystery inspire you. For you, a tree is deeply symbolic, its roots delving into the dark unknown to draw forth the power of the earth, while its branches reach toward the sun to nourish their flowers and fruit. Nature is the ancient witness who has seen every kingdom rise and fall, even those whose names have been forgotten and wait to be rediscovered. The gods of nature share their secrets with druids and sages, opening their hearts and minds to new ways of seeing, and as with those individuals, you find that your creativity blossoms while you wander in an open field of waving grass or walk in silent reverence through a grove of ancient oaks.

Love. You are on a quest to identify the essence of true love. Though you do not disdain the superficial love of flesh and form, the deeper form of love that can inspire thousands or bring joy to one’s every moment is what you are interested in. Love of this sort takes on many forms, and you can see its presence everywhere—from the sparkling of a beautiful gem to the song of a simple fisher thanking the sea for its bounty. You are on the trail of love, that most precious and mysterious of emotions, and your search fills your stories and your songs with vitality and passion.

Conflict. Drama embodies conflict, and the best stories have conflict as a key element. From the morning-after tale of a tavern brawl to the saga of an epic battle, from a lover’s spat to a rift between powerful dynasties, conflict is what inspires tale-tellers like you to create your best work. Conflict can bring out the best in some people, causing their heroic nature to shine forth and transform the world, but it can cause others to gravitate toward darkness and fall under the sway of evil. You strive to experience or witness all forms of conflict, great and small, so as to study this eternal aspect of life and immortalize it in your words and music.


Bards of the Sword Coast

Bards hold a special place of responsibility and respect in the Forgotten Realms. They are bearers of news, gossip, and messages in their travels from place to place, in addition to being living storehouses of history and folklore. Bards know a great deal, and they tend to be willing to share what they know, or at least barter for it.

The arrival of a renowned bard is a special occasion, akin to the visit of a dignitary. A bard can reasonably expect at least a hot supper and a clean place to sleep from a local landlord or inn in exchange for a few songs or stories. A noble might host a bard in fine style—while also being careful to guard any secrets the noble’s household doesn’t want retold or sung across Faerûn.

Not all wandering performers are true bards, nor are all bards inclined to sing for their supper, although most will, given the need. Bards literally have magic to them, and the powers they command through their performance and lore earns them additional respect.

In the Savage North, singers and storytellers called skalds are keepers of the history and great legends of the Northlanders and the Reghed. These warrior-poets are the singers of the songs and sagas that fire the blood of warriors in battle, and composers of the new songs and sagas relating the mighty deeds of heroes and villains. However, spellcasting is taboo among Reghed and Norhtlanders unless it is considered a gift of their gods. Characters with the bard class who rise to prominence among these folk must align themselves with their clan’s priests and shamans or risk being outcast. Most skalds are members of the College of Valor, as described in the Bard College class feature in the Player’s Handbook.

The Harpers

Bards in the North and the Dalelands benefit from the existence of the Harpers, that legendary society recruiting bards and other independent agents to struggle against the forces of evil. Even though most bards in the region aren’t Harpers (and many who are don’t advertise that fact), common folk in the North often behave as if all bards are legendary wandering heroes, and are as likely to ask a bard for the solution to a problem troubling their community as they are a wandering fighter or wizard. This reputation cuts both ways, however, as some enemies of the Harpers suspiciously assume any humble minstrel might secretly be a Harper agent.

Bardic Colleges

In addition to the tradition of apprenticing with a master bard, the Sword Coast has some bardic colleges where masters teach students the bardic arts. They hark back to the great bardic colleges of the distant past, particularly the seven elder colleges: Fochlucan, Mac-Fuirmidh, Doss, Canaith, Cli, Anstruth, and Ollamh. These seven are said to be the origin of the instrument of the bards, each of which is named after one of the colleges. See chapter 7 of the Dungeon Master’s Guide for the game statistics of these magic instruments.

Long ago, bards who sought the rank of master bard attended each of the elder colleges, seeking to learn its musical and magical secrets. Traditionally, the colleges were attended in the order given above, starting with Fochlucan. That tradition fell when the colleges went into decline, but some bards dream of restoring it.

College of Fochlucan

The original College of Fochlucan once stood on the northeastern edge of Silverymoon. Many years after it closed its doors, the site was reopened as Ultrumm’s Music Conservatory. The conservatory later moved to Southbank, and the House of the Harp occupied the college’s original location under the guidance of Master Bard Forell “Flamebeard” Luekuan, who sought to revive the ancient traditions and teachings of Fochlucan. Years of cultivation and support from Silverymoon, as well as the Harpers, yielded a faculty able to revive the college, and the House of the Harp adopted the Fochlucan name once again. Most of its bards study and practice the methods of the College of Lore, as described in the Bard College class feature in the Player’s Handbook.

The College of Fochlucan is naturally allied with the Harpers, although its master bards are careful to stress that its mission is separate from that of the Harpers.

College of New Olamn

Housed in two Cliffride villas overlooking the sea near Waterdeep, the College of New Olamn is a prestigious bardic college established in the Year of the Staff (1366 DR) by wealthy Waterdhavian patrons and named for the old College of Ollamh. Students of the college undergo training in their chosen instruments, along with rigorous practice in memorization and the study of ancient songs, sagas, and history. Most bards of New Olamn belong to the College of Lore, as described in the Bard College class feature in the Player’s Handbook.

The Cliffride, a gravel path up Mount Waterdeep’s northern spur, is used to bring goods to the college, but most visitors and students use the Mount Melody Walk—a tunnel through the mountain itself—to reach it. The tunnel regularly resounds with music, thanks to the Neverending String of Pearls, an ongoing concert where bardic students perform in a small alcove in the tunnel, which carries and echoes their music.

College of the Herald

Based at the great lore-house of Herald’s Holdfast, northwest of Silverymoon, the College of the Herald is dedicated to the preservation of ancient history and legends. The Heralds are charged with collecting and organizing bodies of lore, which they make available to all of good and peaceful intent. Established by the Harper Aliost Oskrunnar in 922 DR, the Heralds are allies of the Harpers but remain neutral in most conflicts, dedicated to preserving knowledge above all else.

The College of the Herald is less concerned with musical performance (although it contains a considerable library of songs) and more with history, heraldry, and folklore, making it a key center of learning for bards of the College of Lore, as described in the Bard College class feature in the Player’s Handbook.

Musical Instruments

In addition to the common musical instruments listed in chapter 5, “Equipment,” of the Player’s Handbook, bards in the Realms play the following instruments:

Birdpipes: Pan pipes or satyr pipes, also known as the shalm, these are sacred to Lliira and popular with wood elf and wild elf bards.

Glaur: Short, curved horns like a cornucopia. Played with valves, glaur sound like trumpets, while those without valves, known as gloon, have a more mournful sound.

Hand Drum: A double-headed skin drum fitted with handles along its side.

Longhorn: A Faerûnian flute of sophisticated make, found only in areas with skilled artisans, as in great cities or elven enclaves.

Shawm: A double-reed instrument similar to an oboe or a bassoon, popular with gnomes, who have developed some bellows-powered versions.

Songhorn: A recorder, a simple type of flute, usually carved from wood.

Tantan: A tambourine, a popular instrument with halflings and humans south of the Dalelands.

Thelarr: Also known as a whistlecane, a simple and easy-to-make wind instrument cut from a reed. They are so simple, in fact, that skilled bards frequently make and give them away to children-to the parents’ delight or regret.

Tocken: A hanging set of carved oval bells, usually played with a pair of light wooden hammers (or open handed). They are most common in underground cultures, where the resonant tones can carry.

Wargong: A metal gong, traditionally made from a shield, particularly the shield of an enemy. Both goblins and dwarves make and play wargongs, their sound echoing through tunnels in the Underdark.

Yarting: A southern instrument from Amn and Calimshan that is a Faerûnian analog to the guitar. Numerous variations have spread across the continent.

Zulkoon: A complex pump organ that originated with the zulkirs of Thay, who use it in the casting of their spells. It is considered to have a dramatic, but sinister, sound.

The Moonstars

Over a century ago, the Harpers endured a schism. Khelben “Blackstaff” Arunsun was denounced by other Harper leaders for empowering Fzoul Chembryl, then the evil leader of the Zhentarim, with a powerful artifact. That Khelben did so in order that Fzoul destroy a dangerous lich mattered little. Khelben and Laeral Silverhand, his wife, left the Harpers then, taking with them certain agents and folding them into to a different organization, which Khelben had been secretly working to create for some time due to an old prophecy of the elves of Cormanthor. This group was the Moonstars, called Tel’Teukiira in Elvish. Although the Moonstars worked in concert at times with the Harpers, they also worked at cross purposes, and the Moonstars membership included many whom the Harpers considered too evil, such as a vampire. The Moonstars performed many good deeds, but their methods were often more brutal and pragmatic than the Harpers’ lofty ideals allowed. When Khelben died, the Moonstars seemed to collapse, and for many years the organization was assumed defunct. Yet during the Sundering, Moonstar sleeper agents reactivated the organization on a surprisingly massive scale, with members active in Candlekeep, Waterdeep, and Myth Drannor. The organization has since gone underground again. Their relationship to the present-day Harpers, Laeral Silverhand, and the current Blackstaff of Waterdeep, Vajra, remains unclear.


Sources:

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