Celebrating the Spring Equinox
- Plant seeds and raise them indoors until it is safe to plant them outside
- Note that the length of day and night are balanced
- Go outside and look for the first signs of spring in your area.
- Reacquaint yourself with the joy of painting hard-boiled eggs with non-toxic paint
I. The Elements of Transformation
Spring has started according to the secular calendar, although in the Celtic countries, it was already starting at Imbolc.
This is usually a time of great change for the better. The grass is beginning to turn green and I have noticed a few buds forming on the tree branches. Many animals are giving birth and in a month or so, we’ll start seeing the little calves and lambs staggering around the pastures as we drive into work. The days are noticeably longer now and are continuing to stretch as we get well into the lighter half of the year.
Even with the snow and fog, Spring is making a valiant attempt to get started!
Every year at around this time, I honour Taliesin because of the many transformations he undergoes to become the person that he is. From his beginnings as a small peasant boy to his success as “Pen Beirdd” (Chief Bard), Taliesin is good friends with change and transformation for the best!
This week, let us look at the story of Taliesin and see how we’ve changed for the better over time or even over the past year.
The story starts not with Taliesin but with Cerridwen, her husband Tegid and their three children, a daughter, Creiwry, a son, Morvan ap Tegid and their brother Avagddu. Creiwry and Avagddu were twins and both children were as opposite as night and day. Where Creiwry was fair, bright and lovely in nature and looks, Avagddu was dark, dull- witted and unattractive in every respect. His name alone meant “Utter Darkness” and his future was not too bright.
Cerridwen was heartbroken and wanted to do something to secure a brighter future for her dark son. Where he wouldn’t get ahead in life with looks (and plastic surgery was not available!), Cerridwen decided that she could do something about his knowledge with the help of a magic potion. If Avagddu could be wise, who would care if he was as ugly as sin?
The potion itself proved to be no easy task to prepare. It required a year and a day worth of tending and adding ingredients at just the right time. A small price to pay if it meant success for her child!
Knowing that the potion must remain at a steady boil for the year and a day, and also knowing that she could not tend it herself while gathering ingredients and such, Cerridwen hired two people to tend the fire and stir the potion. Gwion Bach was a young boy who got the task of stirring the potion and Morda, an old man, got the task of tending the fire.
Diligently, these two fellows tended the potion well and Cerridwen was relieved to be able to gather the ingredients and make the proper incantations.
Towards the end of the year and a day, Cerridwen was out making the final incantation when three hot drops spurted forth from the boiling cauldron and landed on Gwion’s finger. It must have hurt like heck and Gwion did what any other person would do when hot drops land on one’s finger…suck at it!
Little did he know that those three drops were what was needed by Avagddu, while the rest of the potion was useless. To say that Cerridwen would be a little peeved off upon her return is the understatement of the century and Gwion, with all his new found magical wisdom figured that she would be after his head, so he took off.
The cauldron burst into two and the rancid liquid rushed forth and contaminated the river that Chief Gwyddno Garanhir’s horses drank from. A royal disaster indeed!
True to Gwion’s enlightened hypothesis, Cerridwen was absolutely furious and struck a blow to Morda with a stick, knocking one of his eyes out.
“You’ve disfigured me wrongly” said Morda. “I was not responsible for your loss!”
“You are right” said Cerridwen. “It was the young lad, Gwion, who has robbed me!”
(No mention is made of any compensation given to Morda…)
Cerridwen took off after Gwion and found him sure enough. Sensing her wrath and having the power to change, Gwion changed himself into hare to make a speedy escape. Cerridwen changed herself into a greyhound to pursue him.
Upon reaching the edge of a river, Gwion jumped in and changed himself into a fish. Cerridwen, not wanting to be outdone, turned into an otter and pursued him still.
He got out of the water and turned himself into a bird, but Cerridwen still pursued by turning herself into a hawk. She was not giving up the chase! What was Gwion to do?
Looking down, he saw a heap of wheat and changed himself into a grain of wheat and fell into the heap. Cerridwen changed herself into a black hen and ate the grain of wheat that was Gwion. Was this the end of Gwion?
Cerridwen bore him in her womb for nine months and he was born a beautiful baby boy. Cerridwen’s anger melted and she could not bear to kill this lovely child with his radiant brow. Instead, she wrapped him in a leathern bag and set him out to sea on a coracle to let fate sort things out. According to Lady Charlotte Guest’s translation of the Mabinogion, this was done on the 29th of April.
Meanwhile, at the stronghold of Gwyddno Garanhir, it was nearing the time for a great salmon roundup at Gwyddno’s famous weir. Gwyddno had a son, Elphin, who was as unlucky as he was a nice fellow and Gwyddno wanted to see his son’s luck change.
At the advice of his counselors, Gwyddno sent Elphin to take the salmon from the weir to see if his fortune would change.
Elphin went to the famous weir and was disheartened to see not one salmon caught in the net. The only thing there was a leather bag, which was caught in the net.
One of the men minding the weir said “If you were unlucky before tonight, then this is definitely not your lucky night! The weir has always produced at least a hundred pounds of salmon on the eve of Beltane, but tonight there is naught but a leather bag hanging from it!”
Figuring things couldn’t get much worse, Elphin decided to take the bag and have a look inside. What he saw amazed him…for there in the bag was a child with the most beautiful light shining from his brow!
“Behold, a radiant brow!” Elphin exclaimed. “Taliesin” means radiant brow and thus the child in the bag was named.
Beautiful as the child was, he was not a hundred pounds of salmon! Gwyddno’s weir had never failed to produce salmon…he had cursed them all. Boy, would Elphin’s father be upset!
Elphin placed the boy on his horse and began to ride back to his father’s stronghold, lamenting all the while the failed production of fish.
“Fair Elphin, cease to lament!” said the boy and he proceeded with the song of his origins:
“Let no one be dissatisfied with his own,
To despair will bring no advantage.
No man sees what supports him;
The prayer of Cynllo will not be in vain;
God will not violate his promise.
Never in Gwyddno’s weir
Was there such good luck as this night.
Fair Elphin, dry thy cheeks!
Being too sad will not avail.
Although thou thinkest thou hast no gain,
Too much grief will bring thee no good;
Nor doubt the miracles of the Almighty:
Although I am but little, I am highly gifted.
From seas, and from mountains,
And from the depths of rivers,
God brings wealth to the fortunate man.
Elphin of lively qualities,
Thy resolution is unmanly;
Thou must not be over sorrowful:
Better to trust in God than to forbode ill.
Weak and small as I am,
On the foaming beach of the ocean,
In the day of trouble I shall be
Of more service to thee than three hundred salmon.
Elphin of notable qualities,
Be not displeased at thy misfortune;
Although reclined thus weak in my bag,
There lies a virtue in my tongue.
While I continue thy protector
Thou hast not much to fear;
Remembering the names of the Trinity,
None shall be able to harm thee.”
(Song taken from Lady Charlotte Guest’s translation of the Mabinogion)
Elphin was shocked…an infant who could speak so eloquently and with such wisdom…perhaps his luck had changed for the better after all!
“Are you a man or a spirit?” Asked Elphin.
“First, I have been formed a comely person,
In the court of Caridwen I have done penance;
Though little I was seen, placidly received,
I was great on the floor of the place to where I was led;
I have been a prized defence, the sweet muse the cause,
And by law without speech I have been liberated
By a smiling black old hag, when irritated
Dreadful her claim when pursued:
I have fled with vigour, I have fled as a frog,
I have fled in the semblance of a crow, scarcely finding rest;
I have fled vehemently, I have fled as a chain,
I have fled as a roe into an entangled thicket;
I have fled as a wolf cub, I have fled as a wolf in a wilderness,
I have fled as a thrush of portending language;
I have fled as a fox, used to concurrent bounds of quirks;
I have fled as a martin, which did not avail;
I have fled as a squirrel, that vainly hides,
I have fled as a stag’s antler, of ruddy course,
I have fled as iron in a glowing fire,
I have fled as a spear-head, of woe to such as has a wish for it;
I have fled as a fierce hull bitterly fighting,
I have fled as a bristly boar seen in a ravine,
I have fled as a white grain of pure wheat,
On the skirt of a hempen sheet entangled,
That seemed of the size of a mare’s foal,
That is filling like a ship on the waters;
Into a dark leathern bag I was thrown,
And on a boundless sea I was sent adrift;
Which was to me an omen of being tenderly nursed,
And the Lord God then set me at liberty.”
(Song taken from Lady Charlotte Guest’s translation of the Mabinogion)
Elphin took the boy to his father’s court and Gwyddno asked if he had brought home any salmon.
“Alas the weir was barren…” said Elphin, to which Gwyddno lamented.
“However, I have brought home a bounty that is better than fish…” Elphin continued.
“What would that be?” asked Gwyddno.
“A bard!”
“And what shall he profit you?” asked Gwyddno, thinking the worst.
“He will profit more from him than that weir ever profited you!” replied the baby Taliesin.
“You can speak and yet you are so small!” Gwyddno exclaimed in disbelief.
“Yes, I can speak far better than you can to question me.” Replied Taliesin.
“Well then…let’s hear what you have to say!” Said Gwyddno and Taliesin sang another song of his origins.
With that Gwyddno was floored by the boy’s wisdom and Elphin took the boy home where he and his wife cared for him lovingly.
For the next thirteen years, Elphin’s luck indeed changed for the better. He grew in riches and popularity. When Taliesin was 13 years old, Elphin took him to the court of Maelgwn Gwynedd for a winter feast.
Maelgwn was King and a highly celebrated sort of man who enjoyed getting fawned over. Of course, he had earned his reputation, but he still took it to the extreme.
All of the finest men and women were at the party and the question was asked “Does anyone have greater bards than Maelgwn?” and “Is there a man with a more virtuous wife than Maelgwn?”
Elphin replied “My wife is certainly more virtuous and my bard finer than any of Maelgwn’s!”
Not a way to make oneself popular at parties hosted by Kings, I’d say, and Maelgwn took notice immediately. The court went quiet.
Maelgwn had Elphin thrown into prison and his feet secured with a silver chain until he could ascertain the virtue of Elphin’s wife and the skill of Elphin’s bard.
To test Elphin’s wife, Maelgwn sent his own son, Rhun to inquire. Rhun was a graceless and churlish sort of man who was known to resort to dirty ways of winning.
His intent was to get Elphin’s wife drunk until she passed our, have his way with her, cut off her finger and prove that she was disloyal to her husband.
Taliesin figured out what Rhun was up to, so he had Elphin’s wife switch clothes and roles with one her maidservants. The maid was also given the wedding ring to wear.
Rhun showed up for his “visit” and did what he had intended to do.
The next day, Elphin’s wife was brought before Maelgwn where Rhun intended to prove her disloyalty.
“How would you prove this woman’s disloyalty” asked Maelgwn to his son, Rhun.
“Easily said…I have cut off her wedding ring finger while she was drunk!” Rhun replied, showing his gruesome trophy with the wedding ring upon it.
Maelgwn brought Elphin out to make fun of him about his wife’s lack of virtue. “It would do well for a man not to boast of his wife’s virtue when she is less than such!”
“Hmm…I cannot deny the ring is our wedding ring.” Elphin said. “But I can also say that this finger is not my wife’s.”
“How can you say that?” Maelgwn asked.
“Well, for starters, this nail has not been pared for a month. My wife cuts her nails every night before bed. Secondly, there is bread dough under the nail. My wife has not made bread since before we were married. Thirdly, my wife could never keep the ring on because it was always too big. The ring was forced on a finger that is too big for it here!”
At that point, Elphin’s wife showed her hands complete with all ten fingers.
“Whose finger is this then?” Maelgwn demanded.
The hung over maid-servant with a missing ring finger was then brought in.
Furious with being shown up in front of his court, Maelgwn had Elphin thrown back into prison until he could ascertain the skill of his bard.
Elphin’s wife and Taliesin went home and she was distraught over her husband being in prison.
“What are we going to do to get him out?” She asked.
To which Taliesin replied:
“A journey will I perform,
And to the gate I will come;
The hall I will enter,
And my song I will sing;
My speech I will pronounce
To silence royal bards,
In presence of their chief,
I will greet to deride,
Upon them I will break
And Elphin I will free.
Should contention arise,
In presence of the prince,
With summons to the bards,
For the sweet flowing song,
And wizards’ posing lore
And wisdom of Druids,
In the court of the sons of the distributor
Some are who did appear
Intent on wily schemes,
By craft and tricking means,
In pangs of affliction
To wrong the innocent,
Let the fools be silent,
As erst in Badon’s fight,–
With Arthur of liberal ones
The head, with long red blades;
Through feats of testy men,
And a chief with his foes.
Woe be to them, the fools,
When revenge comes on them.
I Taliesin, chief of bards,
With a sapient Druid’s words,
Will set kind Elphin free
From haughty tyrant’s bonds.
To their fell and chilling cry,
By the act of a surprising steed,
From the far distant North,
There soon shall be an end.
Let neither grace nor health
Be to Maelgwn Gwynedd,
For this force and this wrong;
And be extremes of ills
And an avenged end
To Rhun and all his race:
Short be his course of life,
Be all his lands laid waste;
And long exile be assigned
To Maelgwn Gwynedd”
(Song taken from Lady Charlotte Guest’s translation of the Mabinogion)
Taliesin went to the court that night and sat with Maelgwn’s bards. He sat and waited for each of the bards to stand and sing Maelgwn’s praises. As they passed him, he pouted his lips and played “Blerwn, blewrm” upon them with his finger.
When the bards got up sing, all they could do is play “Blewrn, Blewrm” upon their lips as if enchanted.
All of them followed suit and Maelgwn was enraged. One of his lords hit one of the bards over the head with a stick which brought the man out of his enchantment.
“Are you drunk?” asked Maelgwn.
“It’s not of the drink that we do this, but the powerful influence of the young lad who sits yonder.” Replied the bard, pointing at the young Taliesin.
“Who are you?” asked Maelgwn to the young boy.
Taliesin Replied:
“Primary chief bard am I to Elphin,
And my original country is the region of the summer stars;
Idno and Heinin called me Merddin,
At length every king will call me Taliesin.
I was with my Lord in the highest sphere,
On the fall of Lucifer into the depth of hell
I have borne a banner before Alexander;
I know the names of the stars from north to south;
I have been on the galaxy at the throne of the Distributor;
I was in Canaan when Absalom was slain;
I conveyed the Divine Spirit to the level of the vale of Hebron;
I was in the court of Don before the birth of Gwdion.
I was instructor to Eli and Enoc;
I have been winged by the genius of the splendid crosier;
I have been loquacious prior to being gifted with speech;
I was at the place of the crucifixion of the merciful Son of God;
I have been three periods in the prison of Arianrod;
I have been the chief director of the work of the tower of Nimrod;
I am a wonder whose origin is not known.
I have been in Asia with Noah in the ark,
I have seen the destruction of Sodom and Gomorra;
I have been in India when Roma was built,
I am now come here to the remnant of Troia.
I have been with my Lord in the manger of the ass:
I strengthened Moses through the water of Jordan;
I have been in the firmament with Mary Magdalene;
I have obtained the muse from the cauldron of Caridwen;
I have been bard of the harp to Lleon of Lochlin.
I have been on the White Hill, in the court of Cynvelyn,
For a day and a year in stocks and fetters,
I have suffered hunger for the Son of the Virgin,
I have been fostered in the land of the Deity,
I have been teacher to all intelligences,
I am able to instruct the whole universe.
I shall be until the day of doom on the face of the earth;
And it is not known whether my body is flesh or fish.
Then I was for nine months
In the womb of the hag Caridwen;
I was originally little Gwion,
And at length I am Taliesin.”
(Song taken from Lady Charlotte Guest’s translation of the Mabinogion)
He then turned to the bards of Maelgwn and chided them as follows:
“Puny bards, I am trying
To secure the prize, if I can;
By a gentle prophetic strain
I am endeavouring to retrieve
The loss I may have suffered;
Complete the attempt I hope,
Since Elphin endures trouble
In the fortress of Teganwy,
On him may there not be laid
Too many chains and fetters;
The Chair of the fortress of Teganwy
Will I again seek;
Strengthened by my muse I am powerful;
Mighty on my part is what I seek,
For three hundred songs and more
Are combined in the spell I sing.
There ought not to stand where I am
Neither stone, neither ring;
And there ought not to be about me
Any bard who may not know
That Elphin the son of Gwyddno
Is in the land of Artro,
Secured by thirteen locks,
For praising his instructor;
And then I Taliesin,
Chief of the bards of the west,
Shall loosen Elphin
Out of a golden fetter.”
* * * *
“If you be primary bards
To the master of sciences,
Declare ye mysteries
That relate to the inhabitants of the world;
There is a noxious creature,
From the rampart of Satanas,
Which has overcome all
Between the deep and the shallow;
Equally wide are his jaws
As the mountains of the Alps;
Him death will not subdue,
Nor hand or blades;
There is the load of nine hundred wagons
In the hair of his two paws;
There is in his head an eye
Green as the limpid sheet of icicle;
Three springs arise
In the nape of his neck;
Sea-roughs thereon
Swim through it;
There was the dissolution of the oxen
Of Deivrdonwy the water-gifted.
The names of the three springs
From the midst of the ocean;
One generated brine
Which is from the Corina,
To replenish the flood
Over seas disappearing;
The second, without injury
It will fall on us,
When there is rain abroad,
Through the whelming sky;
The third will appear
Through the mountain veins,
Like a flinty banquet,
The work of the King of kings,
You are blundering bards,
In too much solicitude;
You cannot celebrate
The kingdom of the Britons;
And I am Taliesin,
Chief of the bards of the west,
Who will loosen Elphin
Out of the golden fetter.”
* * * *
“Be silent, then, ye unlucky rhyming bards,
For you cannot judge between truth and falsehood.
If you be primary bards formed by heaven,
Tell your king what his fate will be.
It is I who am a diviner and a leading bard,
And know every passage in the country of your king;
I shall liberate Elphin from the belly of the stony tower;
And will tell your king what will befall him.
A most strange creature will come from the sea marsh of Rhianedd
As a punishment of iniquity on Maelgwn Gwynedd;
His hair, his teeth, and his eyes being as gold,
And this will bring destruction upon Maelgwn Gwynedd.”
* * * * *
“Discover thou what is
The strong creature from before the flood,
Without flesh, without bone,
Without vein, without blood,
Without head, without feet;
It will neither be older nor younger
Than at the beginning;
For fear of a denial,
There are no rude wants
With creatures.
Great God! how the sea whitens
When first it comes!
Great are its gusts
When it comes from the south;
Great are its evaporations
When it strikes on coasts.
It is in the field, it is in the wood,
Without hand, and without foot,
Without signs of old age,
Though it be co-æval
With the five ages or periods;
And older still,
Though they be numberless years.
It is also so wide
As the surface of the earth;
And it was not born,
Nor was it seen.
It will cause consternation
Wherever God willeth.
On sea, and on land,
It neither sees, nor is seen.
Its course is devious,
And will not come when desired;
On land and on sea,
It is indispensable.
It is without an equal,
It is four-sided;
It is not confined,
It is incomparable;
It comes from four quarters;
It will not be advised,
It will not be without advice.
It commences its journey
Above the marble rock,
It is sonorous, it is dumb,
It is mild,
It is strong, it is bold,
When it glances over the land,
It is silent, it is vocal,
It is clamorous,
It is the most noisy
On the face of the earth.
It is good, it is bad,
It is extremely injurious.
It is concealed,
Because sight cannot perceive it.
It is noxious, it is beneficial;
It is yonder, it is here;
It will discompose,
But will not repair the injury;
It will not suffer for its doings,
Seeing it is blameless.
It is wet, it is dry,
It frequently comes,
Proceeding from the heat of the sun,
And the coldness of the moon.
The moon is less beneficial,
Inasmuch as her heat is less.
One Being has prepared it,
Out of all creatures,
By a tremendous blast,
To wreak vengeance
On Maelgwn Gwynedd.”
At this point, a wind rose up so high as to knock everyone in the room onto the floor. Maelgwn ordered Elphin to be brought forth in chains and Taliesin (now on a roll!) continued: (The following taken from Lady Charlotte Guest’s translation)
“I adore the Supreme, Lord of all animation,–
Him that supports the heavens, Ruler of every extreme,
Him that made the water good for all,
Him who has bestowed each gift, and blesses it;–
May abundance of mead be given Maelgwn of Anglesey, who supplies us,
From his foaming meadhorns, with the choicest pure liquor.
Since bees collect, and do not enjoy,
We have sparkling distilled mead, which is universally praised.
The multitude of creatures which the earth nourishes
God made for man, with a view to enrich him;–
Some are violent, some are mute, he enjoys them,
Some are wild, some are tame; the Lord makes them;–
Part of their produce becomes clothing;
For food and beverage till doom will they continue.
I entreat the Supreme, Sovereign of the region of peace,
To liberate Elphin from banishment,
The man who gave me wine, and ale, and mead,
With large princely steeds, of beautiful appearance;
May he yet give me; and at the end,
May God of his good will grant me, in honour,
A succession of numberless ages, in the retreat of tranquillity.
Elphin, knight of mead, late be thy dissolution!”
And afterwards he sang the ode which is called “The Excellence of the Bards.”
“What was the first man
Made by the God of heaven;
What the fairest flattering speech
That was prepared by Ieuav;
What meat, what drink,
What roof his shelter;
What the first impression
Of his primary thinking;
What became his clothing;
Who carried on a disguise,
Owing to the wilds of the country,
In the beginning?
Wherefore should a stone be hard;
Why should a thorn be sharp-pointed?
Who is hard like a flint;
Who is salt like brine;
Who sweet like honey;
Who rides on the gale;
Why ridged should be the nose;
Why should a wheel be round;
Why should the tongue be gifted with speech
Rather than another member?
If thy bards, Heinin, be competent,
Let them reply to me, Taliesin.”
And after that he sang the address which is called “The Reproof of the Bards.”
“If thou art a bard completely imbued
With genius not to be controlled,
Be thou not untractable
Within the court of thy king;
Until thy rigmarole shall be known,
Be thou silent, Heinin,
As to the name of thy verse,
And the name of thy vaunting;
And as to the name of thy grandsire
Prior to his being baptized.
And the name of the sphere,
And the name of the element,
And the name of thy language,
And the name of thy region.
Avaunt, ye bards above,
Avaunt, ye bards below!
My beloved is below,
In the fetter of Arianrod
It is certain you know not
How to understand the song I utter,
Nor clearly how to discriminate
Between the truth and what is false;
Puny bards, crows of the district,
Why do you not take to flight?
A bard that will not silence me,
Silence may he not obtain,
Till he goes to be covered
Under gravel and pebbles;
Such as shall listen to me,
May God listen to him.”
Then sang he the piece called “The Spite of the Bards.”
“Minstrels persevere in their false custom,
Immoral ditties are their delight;
Vain and tasteless praise they recite;
Falsehood at all times do they utter;
The innocent persons they ridicule;
Married women they destroy,
Innocent virgins of Mary they corrupt;
As they pass their lives away in vanity,
Poor innocent persons they ridicule;
At night they get drunk, they sleep the day;
In idleness without work they feed themselves;
The Church they hate, and the tavern they frequent;
With thieves and perjured fellows they associate;
At courts they inquire after feasts;
Every senseless word they bring forward;
Every deadly sin they praise;
Every vile course of life they lead;
Through every village, town, and country they stroll;
Concerning the gripe of death they think not;
Neither lodging nor charity do they give;
Indulging in victuals to excess.
Psalms or prayers they do not use,
Tithes or offerings to God they do not pay,
On holidays or Sundays they do not worship;
Vigils or festivals they do not heed.
The birds do fly, the fish do swim,
The bees collect honey, worms do crawl,
Every thing travails to obtain its food,
Except minstrels and lazy useless thieves.
I deride neither song nor minstrelsy,
For they are given by God to lighten thought;
But him who abuses them,
For blaspheming Jesus and his service.”
Maelgwn and his bards were dumbfounded as Elphin’s chains fell from his feet. Taliesin had truly proved that he more than surpassed Maelgwn’s bards and he was named Chief Bard of Gwynedd.
Taliesin’s story has a few elements in it to ponder:
The first being of change for the best. What seemed like a bad situation (Gwion’s accidental imbibing of the potion and the anger of Cerridwen with his subsequent being put out to sea) turned out to be a good one for both Taliesin and the unlucky Elphin.
Elphin’s luck changed and Taliesin was able to use his wisdom to serve in the highest fashion. Both Elphin and Taliesin took an initiatory process, which can be interpreted in many ways.
Taliesin, through his changes into the different animal forms, experienced the worlds of land, sea and sky as a hare, fish and bird. He experienced the dark night of the soul, or the incubation in Cerridwen’s womb. He then faced his final initiatory process when he was left to fate in the sea. Again, he experienced land, sea and sky as he was in a leather bag (land), breathing the air (sky) and set adrift upon the sea(sea).
He emerged a wise child, but still had the needs of a child, thus his fosterage with Elphin and his wife. This shows me that no matter what we go through, no matter how early or how late, we still need to grow and we still need to serve.
Elphin’s transformation was with regards to his fortune. Originally unfortunate, Elphin’s luck changed when he found the child at the weir. Taliesin was the key to Elphin’s rise on status, riches and self-confidence (probably the greatest of them all!)
I see this as meaning that when one balances one’s own mundane needs with the spiritual (even forsaking worry over money and such and trusting in wisdom before status), good fortune usually follows.
The second element being that of proving one’s virtue through one’s actions alone. While Elphin may have been a little out of line in making his boast, he spoke the truth and the truth was proven by its own merit without Elphin’s interference.
Never be afraid to let the world know what you are worth if you know it is true…even if it means irking the higher ups in status who may not be so deserving of it!
Many people with high status will strut about and boast about their qualities…but have you noticed that they also get extremely defensive…even aggressive…when faced with someone or something who surpasses them in merit? These folks will do their best to bring that person down through lies, deceit, rumour-mongering and any other sort of defamation.
However, as this story illustrates, one cannot occlude the truth of Merit for long before it shows itself!
The third element appears to be that of the power of loyalty and taking care of those who are loyal to you. Taliesin gave his loyalty to Elphin and in turn Elphin and his wife took care of him like a beloved son. In return, Taliesin performed feats that protected Elphin and his wife from the wiles of Maegwn and Rhun.
Unfortunately, nothing is mentioned of how Avagddu fared after the disastrous attempt at using magic to fix him…which is the fourth element in this story. One cannot relay on magic to solve problems or fix people, as was learned in this story. However, the magic did benefit another person, showing that magic will indeed work where the universe deems it to…and it’s not always in your favour!
Questions to Ponder:
1. What was the greatest gift that your mother gave you or service that she did for you? Even if she failed at doing something for you, were her actions appreciated?
2. What was the most transformative experience of your life? What elements were present in the process?
3. When has your merit shone through when others would try to block your path or put you down? Have you seen truth shine through for others in this manner?
4. How have you rewarded loyalty or how was your loyalty rewarded by another? How have you served?
5. With regards to magic solutions, what have been your experiences? Does it work, has it failed? What does this story tell you about it? (Everyone sees things differently!)
II. Inspiration, Journeying or Scrying…Just What Were Those Bards Doing??
Singer, Poet, Historian…Bard
“Behold a bard who has not chanted yet.
He will sing soon
And by the end of his song
He will know the starry wisdom…”
From The Hostile Confederacy by Taliesin
Almost everyone has heard or read the term bard at some point in their lives. Famous people such as Shakespeare have been given the title Bard. Even a certain plucky blonde sidekick in a modern sword and sorcery type television show is called a Bard. What exactly is a bard? Is it a concept that has faded into the mists of ages past or is it
still relevant today?
The purpose of this article is to examine what a Bard was/is and what his or her role was/is in society and how the concept of the Bard has survived to this day.
The Role of the Bard in Celtic Society
Many people see the Bard as being just an entertainer who played the harp and recited poetry at feasts, but their roles were far greater than that. Entertaining was only the tip of the iceberg. So great was the Bard’s role that he often sat next to the lord or king and ate the choicest portions of the meal.
The possible responsibilities of a bard included:
• Historian – A bard committed to memory the history of his/her people as well as the genealogy of the clan and the deeds of the leaders and warriors.
• Reporter – As well as being able to recite the history, the bard was also required to be up to date on the news. A landowner or chief would want to know what was going on outside the borders of his or her stronghold. As many Bards were travelers, this was of great importance to the chiefs.
• Story-teller – The telling of a story to the Celts consisted of far more than just sitting around the story-teller while he spun some yarn to keep the children out of the hair of parents. Storytelling was sacred and people would grow silent to hear the story told by the Seannachie (Irish-Gaelic for storyteller).
People who talked or interrupted the seannachie were not too popular afterwards. Stories often included myths and legends of great heroes and kings, Gods and magic, and were usually told during an important event such as a naming ceremony for a baby, a wedding, a coronation or a funeral. Each bard new hundreds of stories and poems and also knew when the appropriate times to tell the stories were.
• Healer – As hard as it may be to believe, bards held a role in healing as well. Celtic myth often mentions the three strains of sorrow, joy and sleep played by the bards in order to aid in the healing process. The sorrow strain was played to make the listener cry
in deep sorrow; the joy strain played to make the listener laugh and the sleep strain was to allow the listener to fall into a deep healing slumber.
• Praise-giver – If a chief won a bard’s favour or performed a great deed, the bard would make it known far and wide how great that chief was through song and poetry. Within months, it would be known all over what the celebrated person had done.
• Satirist – This is probably a good reason why the bard was so highly respected. As much as a bard could spread the word about good deeds performed by chiefs and such, he could also ruin a man’s reputation utterly with just a few little words. Celtic myths and legends are also rich with stories of what happens to a person if satired by a bard. Anything from being shunned from society, breaking out in blemishes or even death could befall such a person. Such was the magnitude of the power of the word and such was the immense power wielded by the bard.
Bards were held in extremely high regard in Celtic society and to commit an offence against a bard (or Druid for that matter) was punished severely. The spoken word was considered sacred and the bard was the most highly skilled in that regard.
Like reporters of their day, Bards would travel from place to place, reporting to the lord of the land and his court all of the goings on outside of their domain. They played the important role of keeping the people aware of what was going on around them and outside of their immediate space.
The Bard also kept close track of the people’s history. All good bards could recite genealogies of families and clans, the deeds of chiefs and warriors, as well as the myths and legends of the people.
Wielding as much power as a bard did, education was of the utmost importance and training was intense as well as lengthy. The average length of a bard’s training was twelve years.
In Ireland, the basic curriculum is said to be thus: (As taken from Taliesin: Bardism and the Shamanic Mysteries of Britain and Ireland (Aquarian, London, 1991) by John Matthews., Pages 121- 122)
• Year 1 Fifty oghams or alphabets. Elementary grammar. Twenty tales.
• Year 2 Fifty oghams. Six easy lessons in Philosophy. Some specified poems. Thirty tales.
• Year 3 Fifty oghams. Six minor lessons of Philosophy. Certain specified poems. Grammar. Forty poems.
• Year 4 The Bretha Nemed or Law of Privileges [basic Brehon Law]. Twenty poems of the species called Eman. Fifty tales.
• Year 5 Grammar. Sixty tales.
• Year 6 The Secret Language of the Poets. Forty-eight poems of the species called Nuath. Seventy or eighty tales.
• Year 7 Brosnacha (Miscellanies). The Laws of Bardism.
• Year 8 Prosody. Glosses (the meaning of obscure words) Teinm Laeghdha. Imbas Forosnai, Dichetal Do Chennibh Dindsenchas (Topical Stories).
• Year 9 A specified number of compositions of the kind called Sennat, Luasca, Nena, Eochraid, Sruith and Duili Feda. To master 175 tales in this three year period.
• Year 10 A further number of the compositions listed above.
• Year 11 100 of the compositions known as Anamuin.
• Year 12 120 Cetals or orations. The Four Arts of Poetry. During the three years to master 175 tales in all, along with the 175 of the Anruth, 350 tales in all.
As seen above, if this is true, the bard had a fairly intricate education, learning the laws of the land (Bretha Nemed), the many oghams, stories, poems, genealogies and history (as well as the obvious grammar and language skills).
A Quick Note on the Arts of Imbas Forosnai, Teimn Laeghdha and Dichetal Do Chenibh Dindsenchas Or Some Forms of Inspiration
As with any art, inspiration is the most important tool used by a bard or seer and was often seen as Divinely given by the Celts. Three methods of obtaining inspiration (commonly known as the Three Illuminations), whether it be for poetry or prophecy, were: Teinm Laeghdha (Illumination by song), Imbas Forosnai (Sudden Illumination
or Illumination Between the Hands) and Dichetal Do Chennibh (The Nuts of Wisdom). These were the Irish names for the methods. Inspiration in Welsh was simply called Awen.
Teinm Laeghdha – Illumination by Song
This is simply when one enters a trance like state through chanting, singing or the recitation of poetry. Music is the medium that causes the person to enter the altered state, whether it be through poetry, song, drumming or dance. In this altered state of consciousness, one could commune with the divine or receive messages which could be
translated by the person through prophecy, story or song. This method is commonly used by Shamans through drumming, using rattles and chanting as well as Buddhist Monks through chanting and music. Many people use this method while meditating or conducting ritual.
Imbas Forosnai – Sudden Illumination
This is a more complex method as there are many ways to attain it. In the Irish Manuscript Cormac’s Glossary, Imbas Forosnai is described as being obtained by the seer chewing on raw flesh (swine, bovine, canine or feline) and placing it on a flagstone behind the door, offering it to the Gods and calling them to him so that his sleep may not be disrupted. Upon doing this, he would then place his hands on his cheeks and sleep for a period of about three days and nights (this time frame was called a nomad). Men would often watch to make sure he would not change position or disturbed.
This form was taught to bardic students by having the student lie in a completely dark room, covered with plaids around the head and body, with a stone upon the chest (sensory deprivation by preventing sight, hearing or any sensation other than the rock upon the belly).
The student would then be left in this state to receive inspiration. Sometimes the teacher would ask the student to meditate on a specific topic or just compose poetry. After a certain time, the teacher would then enter the chamber with a light and the student would then recite what had been revealed to him or her.
Imbas Forosnai is described in legend as being attained differently as well:
Fionn MacCumhail could reach this state by simply sucking his thumb as he had sucked the juice of the Salmon of Wisdom from that thumb when it had burned him while he was cooking it for Fionneces, his teacher.
Fionneces had received a vision many years prior that someone by the name of Fionn would be able to catch the Salmon of Wisdom, eat it and so gain the knowledge of the world. The old blind Poet had spent most of his life trying to catch the Salmon, but with no luck.
When Fionn came to him for teaching, he told him the story of the Salmon. Fionn caught it for him and cooked it as instructed. Fionneces told Fionn not to eat the salmon, but while it was cooking a bubble burst on the fish’s skin and the burning liquid landed on Fionn’s thumb. The pain caused him to suck it and he gained the wisdom. Fionneces realized that the prophecy had not meant himself, but Fionn.
This story is similar to that of Gwion Bach, who was reborn as Taliesin (that story is further ahead in this article).
Another story is that of Fedelm, the filidh that Queen Maebdh comes across when she is en route to do battle with Ulster.
Fedelm is a young girl, returning from her training as a filidh. Queen Maebdh asks her if she possesses imbas forosnai to which the girl replies that she does. The queen then asks what shall become of the battle. The girl breaks into song and finishes by saying “I see it
crimson, I see it red…” Fedelm is obviously able to reach this state without the props.
Dichetal Do Chennibh – Cracking the Nuts of Wisdom
This form of inspiration is achieved through meditation or relaxation generally, but has also been said to be obtained via a magical implement such as a sword, branch, staff, etc. It was thought that a seer or bard could touch an object and tell from what he feels from it
what had happened to it, who had held it last, etc.
This could have been particularly useful in situations where something serious like a murder or a disappearance had occurred. The seer or bard could touch an object, the body, etc and be able to tell what had happened.
It has also been hypothesized as gaining wisdom from eating sacred foods, such as hazelnuts, which were said to carry wisdom as hazel is the tree of wisdom. The term nuts of wisdom may not be as literal as the imbibing of hazelnuts, but more as the spontaneous inspiration that comes from something.
A good example of this in legend is in the story of Amairgen, the Bard when the Milesians (or Gael) first attempted to set foot upon Eire’s shore. The Druids if the Tuatha De Dannan cast spells to make it virtually impossible for the Milesian boats to land upon the shore.
Amairgin’s brother fell from his boat during one of the violent storms sent by the Druids and drowned. Amairgin was then struck by sudden inspiration and he recited the following lines:
“I invoke the land of Ireland.
Much coursed be the fertile sea,
Fertile be the fruit-strewn mountain,
Fruit-strewn be the showery wood,
Showery be the river of water-falls,
Of water-falls be the lake of deep pools,
Deep-pooled be the hill-top well,
A well of tribes be the assembly,
An assembly of the kings of Tara,
Tara be the hill of the tribes,
The tribes be the sons of Mil,
Of Mil of the ships, the barks,
Let the lofty bark be Ireland,
Lofty Ireland, darkly sung,
An incantation of great cunning…
I invoke the land of Ireland (ibid).”
[Taken from Taliesin: Shamanism and the Bardic Mysteries of Britain
and Ireland by John Matthews (Arkana, London, 1991), Page 54 & 55]
With this said, the winds and sea died down to a calm state, making it possible for the Milesian ships to land upon the shore despite the losses suffered. Once landed, Amairgin continued:
“I am a wind upon the sea,
I am a wave upon the ocean,
I am a sound of the sea,
I am a stag of seven points,
I am a bull of seven fights,
I am a hawk upon a cliff,
I am a teardrop of the sun,
I am the fairest of blossoms,
I am a boar of boldness,
I am a salmon in a pool,
I am a lake on a plain,
I am the mound of poetry,
I am a word of skill,
I am a battle-waging spear of spoil,
I am a God who fashions fire in the mind.
Who but I knows the secrets of the stone door?
Who has seven times sought the peace of peace?
Who, save I, knows the ages of the moon,
The place and time the sun sets?
Who calls the kine from Tethra’s house,
And sees them dance in the bright heavens?
Who shapes weapons in a fort of glass,
In a fort that harbours satirists?
Who but the poet, the singer of praises,
Who but I divides the Ogham letters,
Separates combatants, approaches the Faery mound?
I, who am a wind upon the sea.”
[Taken from Taliesin: Shamanism and the Bardic Mysteries of Britain and Ireland by John Matthews (Arkana, London, 1991), Page 55. Based on the original Irish, and on the translations of R.A.S Macalister, Eleanor Hull, T.P. Cross and C.H. Slover, 170, 130. 59]
The Bard in Today’s World
When you turn on the radio, you hear the songs of modern-day bards, from the traditional songs by Loreena McKennitt to the very off-beat and often controversial lyrics of Eminem. Like their ancient counterparts, these modern day bards are held in fairly high regard in today’s society. There’s not a gossip magazine or newspaper printed
that does not have at least one article about a popular musician or performer. These people make large amounts of money and have loyal fans around the worlds who flock to hear their music and words.
Today’s bards who are not making millions of dollars can be found in coffee shops and bookstores, reciting their lyrical interpretations of history and today’s society while their colleagues and friends sip cappuccino and hang on every word. They can be found at the local pub or on the streets performing for small change while they try to finance their first albums in the hopes of making it big one day.
The bards of the written word (a concept the bards of old may have been surprised at!), such as The Bronte Sisters, Charles Dickens, Leo Tolstoy, Anne Rice, Stephen King, Tom Clancy and hundreds of well-known and not so well known authors are also held in high regard as there are billions of stores in the world dedicated to just selling just their works (and maybe some stationary and coffee in the in-store cafes well…). Magazines, books, newspapers and now the internet are perfect examples of how strong the concept of the Bard still is in society!
The Bard of old was required to learn them all as it was his/her job to tell an appropriate story at an occasion. (Tell a story of a wondrous birth at a naming ceremony, a heroic death story at the funeral of a warrior or king, a childhood deeds story when a child is
recognized for a great feat, etc.). We can still do this today for a number of occasions.
I have listed below a few of the Celtic tales I use in certain situations. These are only some that I have found useful…they might not be the same for others.
Job interviews – The story of how Lugh got into Tara (I told that one here not too long ago)
Forbidden love – The story of Deidre and the sons of Uiesneach (I think I spelled that wrong), The story of Grainne and Diarmuidd (From the Fionn MacCumhail Saga)
Sudden death (Violent) – The story of the death of Lugh’s father Cian and the awful blood fine placed upon his murderers;
Sudden death (Heroic) – The story of CuChulainn and the Cattle Raid of Cooley
Jealous boyfriends (Yes, I have used this one on one of my jealous boyfriends) – The story of Chonchobhar’s rage at losing Deirdre (Or the sorrow of Deirdre) – the one where Chonchobhar kills her lover, she kills herself, the two get buried side by side and the trees grow over the graves and entwine, mocking Conchobhar’s stupidity even in death!;
Starting new projects or moving – The Milesian invasion of Ireland and Amergin’s song, The arrival of the Nemedians (Soon to be the Tuatha DeDannanns);
Overbearing boss, supervisor, jerk neighbours, etc: The story of the Tuatha DeDannan’s struggles with the Formorians and their taxes, The first and second Battles of Mag Tuireadh
Foster children/adopted children – Lugh’s fosterage with Tailtu, Setanta’s (CuChulainn in later years) fostering by King Conchobhar, Llew Llaw Gyffe’s fostering by Gwydion;
Women in situations forced on them by men or society – The marriage of Dechtire to Sualtim (Dechtire was CuChulainn’s mother in case some are unsure), The creation of Bloddeauwedd and her forced marriage to Llew Llaw Gyffes
Disturbing dreams – The dream of Aonghus Mac Og, The dreams and wasting sickness of CuChulainn
Jealous Girlfriends – The story of Emer’s jealousy of CuChulainn’s sickness over Fand, the wife of Mannanann Mac Lir
There are many more situations and stories that could be mentioned, but won’t for the sake of brevity.
So, next time you pop in your favourite CD, attend a poetry reading or curl up to a good book, remember that the spirit of the bard lives on in all of these things and within yourself as well!
Things to ponder:
Have a look at the three Arts of Imbas Forosnai, Teimn Laeghdha and Dichetal Do Chenibh Dindsenchas. They are mentioned mostly as inspirational tools for bards. How else could these arts be applied in the spiritual sense?
Is there anyone today in music, film, literature, news or even outside of the realm of the famous that you would consider a bard in the sense of the old definitions? (See the list of bardic responsibilities)
How do you see some of the responsibilities of the bard being used today? (i.e.: appropriate story telling at an event – these wisdoms are my way of doing it, praising or satirising someone, healing, etc.)
Notes and Resources from Bards
INTERNET:
• Awen/Imbas: The Three Illuminations by Searles O’Dubhain
(http://www.summerlands.com/crossroads/library/awenimba.htm) gave me some supplemental information on the three illuminations along with the information I obtained from Nora Chadwick’s Article Imbas Forosnai written in 1935.
http://www.geocities.com/Athens/Delphi/4715/imbasforosnai.html
BOOKS:
1. Chadwick, Nora and Dillon, Myles. The Celtic Realms: The History and Culture of the Celtic Peoples from Pre-History to the Norman Invasion. Phoenix Press (History of Civilization series), 2000. (Originally published in 1967 by Weidenfeld & Nicholson)
2. Cunliffe, Barry. The Ancient Celts. Penguin Books; London, England. 1997.
3. Green, Miranda. The Celtic World. Routledge, London, England, 1995.
4. Green, Miranda. The World of the Druids. Thames & Hudson, London, England. 1997
5. Matthews, John. The Bardic Source Book: Inspirational Legacy and Teachings of the Ancient Celts. Blandford, London, 1998.
6. Matthews, John. Taliesin: Shamanism and the Bardic Mysteries in Britain and Ireland. Aquarian Press, London, 1991.
III. The Mysteries of the Ogham
“O Oghma, Great Champion of the Sidhe, Great Speaker of Eloquence,
Please help me to defend my position in an effective and eloquent manner today…”
~ From “the Morning Prayer” Athelia Nihtscada
Oghma was listed in most telling of Irish Mythology as the Champion of the Tuatha De Dannann. He appears most often in the story of how Lugh came to Tara for the first time. Lugh must prove his worth to the Tuatha De Deannann and when he says that he is a warrior, he is told that they already have Oghma, who is the champion of the Tuatha De Dannann.
According to Dr. Daithi O’Hogain, in his book “Myth, Legend and Romans – An Encyclopaedia of the Irish Folk Tradition, Oghma is the brother of Daghda. He was known as the Sun Faced God or the Sun Poet. In many stories, he is credited as being a poet and a speaker of great grace and eloquence.
Other stories credit Oghma with the invention of the Ogham script. One particularly fanciful but lovely story comes from “The Song of Taliesin” by John Matthews and I shall retell it here in my own words…
Since Oghma was a child, he had a yearning…a yearning to seek and find something that he could neither describe nor even name. He just knew there was something out there that he needed to find. It drove him to his soul and he set out upon his search as a young man.
As he looked upon his fellow Gods and Goddesses, he saw darkness. He saw the darkness of Morrighan’s position…even Lugh’s! Himself…he was a lighter God. He knew the song of creation and would often cast his dark struggles away, earning him the title of Champion.
Oghma decided to take his journey and see if he could find the destiny he knew was out there for him. He knew that he would find this thing he must find.
After a seemingly long time, he was forgotten about and one night he lay beneath the faded stars and dreamt: He dreamed of a man looking at a picture of an old man who had chains coming from his tongue which were attached the ears of all of the people who followed him. What did it mean? He learned that the picture was a representation of eloquence. The old man showed the wisdom that comes as we age, and the chains were the link between the words of one person and the ears of other…the physical link. The chains were the power of this man’s eloquence, but also the lasting nature of his words.
How are words best preserved for a long time? What was the link between the words and the memories of people through the ages who could not hear them, but yet they know them many years into the future? What was the physical way to do this?
Oghma knew he was onto something, but what it was still was to be determined. He carried on with his journey until he came to the realm of Taranis, the keeper of the Great Wheel of Fate.
“What brings you here?” Asked Taranis.
“Strange as it may sound…I have come to ride your Wheel.”
“Do you know what could happen if you do such a thing? I don’t even know what could happen, but there is a chance that this could undo everything! Are you willing to take such a risk?”
“I am.” Replied Oghma and so he was tied to the Wheel of Fate and thus began his ordeal to find his destiny.
Upon the wheel, Oghma witnessed the coming and going of fate, the passing of ages and the changes that come with those passings.
He saw the work of his kindred and himself. He saw how Lugh inspired Wisdom, how Macha inspired War, how Gobhniu crafted wondrous swords and how Morrighan reaped the souls of the valiant dead. He saw himself as bringing the light of the Songs of Creation and singing his poetry to enlighten people.
He saw how he searched for meaning and how mankind too searched for meaning in the aspects of their lives – their daily work, their families, their passions and their dislikes.
Looking upon the wheel that he was tied to, he saw a sigil on each of the 25 spokes of the wheel that ties life to fate. These symbols he sought to understand. Looking at the spokes closer, he saw that they were each made of a different type of wood: oak, holly, yew, birch, etc. The symbols seemed to correspond with each of the woods.
As his knowledge grew, so did his pain as it filled his head and body. Barely able to stand the pain that wracked his body, mind and soul anymore, he passed into darkness…and the wheel ceased to turn.
And so Oghma dreamed. He stumbled through darkness until he found himself at the mouth of a well. He looked into the well and light blasted forth. In the light that seared his vision, he saw the bits of wood with the symbols and reached for them. He collected them all into a bag and attached it to his belt.
The darkness fell again and then again he returned to light. He was no longer upon the wheel, but looking down upon the earth. Great cities sprawled from the edges of oceans, lakes and rivers. People walked in light and no longer in darkness for they had the ability to transmit knowledge that would last…they had use of the written word and the written word could be reproduced and transported en masse to millions of people all at once! The knowledge could be spread and retained. These were the chains of wisdom that connected the tongue to the ears…the physical link.
Oghma’s purpose became clear. He had always brought the light of song…now it was him to bring the light of the written word. His purpose was to introduce a new form of communication…written language.
As he was set free from the wheel of fate with no knowledge, so he would set others free.
We often take for granted our ability to read and write and sometimes forget that there was a time when the average person could not read or write…only the learned or the powerful people could. This chained the common people to the words of the learned folks, for they had the power of knowledge…the chain that bound them to wisdom that they could not hope to learn more of unless the learned folks deemed that they could.
As more people learned to read and write, more ideas were generated, more people were released from the chains of others and began to seek and write their own truth. As we know today, the written word, as well as the spoken can wield a great deal of power.
“The pen is mightier than the sword” after all!
While it may be tempting for some of the more scholarly types to disregard this story since it was written in a (researched) fictional book by John Matthews, it is important to remember that not all myths are true, but many hold wisdom within them.
The point of the story is not to be “true”, per se, but to impart some symbolic truth, which I believe this story does in a beautiful and profound way.
The Auraicept na N-Eces or “Scholar’s Primer”, edited and translated in 1917 by George Calder (John Grant publishers, Edinburgh, 1917) gives a far less romantic telling of the story: Ogham was invented in Ireland by Ogma, son of Elatha (and also brother to Bres and Delbaeth). Ogma was said to be a skilled speaker and poet. He created it because he believed that writing should belong to the learned people and anyone else except for “rustics and herdsmen”.
The Ogham was borne of Oghma and his knife upon wood (or his hand holding the knife which inscribed the first letter). The first letter was B (Birch), which starts all sentences in Ogham. This is said to be from a warning Oghma gave to Lugh to warn him of the possibility of his wife being taken from him by the fairies. “Your wife will be seven times taken from you into fairyland or some other country unless birch protect her.” This was written in the wood of Birch and given to Lugh to protect give to his wife for protection.
It would seem that the first usage of Ogham was to be the instructions on the usage of a piece of birch wood to protect Lugh’s wife from being abducted by faeryfolk! (At least, that is according to the Book of Ballymote)
It would seem that the Scholar’s Primer states that only the learned should have this knowledge of written language and not the common people. A far cry from Matthews’ interpretation of Oghma’s intent in his story.
The Auraicept na N-Eces or “Scholar’s Primer”, was taken from the Book of Ballymote, a 14th century Irish manuscript kept in the library of the Royal Irish Academy, which contained quite a bit of information. Eight pages of this text contain writings about “The Ogham Tract” or Duil Feda. This is where most of our knowledge of Ogham comes from.
This book also makes note that there are more than just one kind of Ogham…there are many and each kind is a correspondence to some subject. Colour Ogham, for example, associated a different colour and attribute to each letter. Other types included Sow Ogham, King Ogham, Water Ogham, Bird Ogham and even Food Ogham.
This could be taken in a magical context or even just in a societal one using the letters to remember certain important aspects of society.
There is mentioned a Word Ogham of Morann Mac Main described in the Book of Ballymote. Morann is well known for his work, the Testament of Morann, which gives a detailed account on the ethics and virtues that a ruler should live by. (Taken from the Encyclopaedia of Celtic Wisdom: A Celtic Shaman’s Source Book by Caitlin and John Matthews)
B – Feocus Foltchain (Faded Trunk and Fair Hair) – the two aspects of the Birch
L – Li Sula (Delight to the Eye) – Luis the Quicken Tree or Rowan – To wit, the flame
F – Airinach Fearn (Shield of Warrior Bands) – Alder – The material that makes a shield
S – Li n-aimbi (Hue of the Lifeless or Hue of one who is dead) – Willow – Denial, so that one is not living so much as he is dead to the world
N – Nin (Checking of Peace) – Ash – Maw of the weaver’s beam as applied to wood – a sign of peace.
H – Conal Cuan (Pack of Wolves) – Uath – Thorn – Terror to anyone, threat to one’s life.
D – Ardam Dossaibh (Highest of Bushes) – Duir – Oak – Highest of the bush class.
T – Trian (Another thing the meaning of that today) – Tinne – Holly –
C – Cainin Fedaib (Fairest of Trees) – Coll – Hazel – Due to Hazel’s beauty in the woods
Q – Clithar mbaiscaill (Shelter of a Hind) – Quert – Apple Tree – i.e. A fold; to wit. Boscell (lunatic) that is bas-ceall (death sense) – Sense comes to the lunatic at the hour of his death. Clithar Boiscell is an apple tree: or boscell, that is, hinds, to wit, they are light.
M – Tresim Fedma (Strongest of Effort) – Muin – Vine – Hard work (Back of a man or Ox – hardest working parts)
G – Millsim Feraib – (Sweeter than Grasses) – Gort – Ivy – With him owing to the identity of the name with the cornfield. When it is in the blade, sweeter than any grass is that grass, to wit, the cornfield. Hence for that letter in the Ogham owing to the complete identity of the name between them.
Ng – Luth Legha (A Physician’s Strength) – nGetal – Broom – There is an affinity with the strength of physicians and the broom plant.
Ss – Tresim Ruamna (Strongest of Red) – that is str with him in Ogham. – Straif – Blackthorn – Used for dying things red when boiled through the urine into white gold, so to make it red.
R – Tinnem Ruccae (Intensest of Bushes) – Ruis – Elderberry – Reddening or shame according to fact. (Comes from the reddening of the face when the herb is rubbed against it)
A – Ardam Iachtadh (Loudest of Groanings) – Ailm – Fir – What a man says when groaning in disease or wondering/marveling at whatever circumstance.
O – Congnamaid Echraide (Helper of Horses) – Onnaid of the chariot (wheels) – Ohn – Furze
U – Uaraib Adbaib (in cold dwellings) – Ur – Heather – Mould of the earth has the same name (can be used to keep a place warm)
E – Ergnaid Fid (Distinguished Wood) – Eadha – White Poplar – The name also for the trembling tree.
I – Siniu Fedaib (The Oldest of Woods) – Iadha – Yew – Service Tree.
(é) – Snamchain Feda (Most Bouyant of Wood) – Ebad – Aspen – Fair swimming is the wood.
Oi – Sruitem Aicdi (Venerable of Structures) – Oir – Spindle
Ui – Tutmur Fid Uilleann (Juicy Wood is Woodbine) – Uilleann – Honeysuckle – (Also known as Woodbine)
Io – Millsem Feda (Sweetest of Wood) – Ifin (pin) – Gooseberry
Ae – Luad Soethaig (Expression of a Weary One) – Emancoll – Alas! I am weary or full of despair
And so ends the Word Ogham of Morann.
In actuality, Ogham originated in Ireland in about the 4th Century AD, and is a translation of the Latin lettering system to one that is more “native”. While many believe there is a “magical element” to the lettering, the only hard evidence is that of marking stones for property, places or graves. There is quite a collection of Ogham marked stones marking the names of places and people at the University of Cork…quite mundane!
Interestingly, there is evidence to show that the adaptation of Latin lettering to Ogham was happening in Ireland long before the Christian missionaries even went to Ireland. The magic may have come into it when a learned person actually committed the spoken word to the written using this lettering! Or perhaps the story of Ogma’s instructions to Lugh are the original purpose…
The Ogham started out with only 20 letters – 4 groups of five characters and eventually a fifth group of dipthongs was added. (Some legends say that this fifth group was given by Mannanann MacLir, the Sea God, when he gave the Crane Bag to Cumhail)
Should we disregard the magical qualities of the Ogham? Was it just used to mark boundaries, places and graves, or could there have been a more mystical purpose for them? Does it matter in this day and age?
There has been some speculation that the Ogham could also be used as a form of sign language or even a mnemonic tool, i.e.: “filing” knowledge as a lettered category in the brain using the sign for the letter and using that sign to recall it later. A very handy associative memory tool for folks who need to retain a lot of knowledge without writing it down! (From “The Celtic Tree Oracle: A System of Divination” by Liz and Colin Murray)
If we were to look at the Brehon Laws, we would find that certain trees were awarded a “status” of sorts: Chieftain, Shrub and Peasant, depending on their importance or use in Celtic society. In the mundane sense, these trees were assigned these ranks because there would be an appropriate penalty for destroying such a tree without good cause. Yes, even trees had an “honour price” in society!
Robert Graves, in his book “The White Goddess” created a fanciful little piece called the Celtic Tree Calendar, in which he assigned a tree and corresponding attributes to each month in a 13 month lunar calendar layout. While definitely not rooted in any scholastic fact, his idea was an interesting one, which has been used by many practitioners of magic in the modern age.
With a little creativity, some research and your own experiences with trees, you could come up with a system of divination based on the Ogham/trees or even devise other uses for it.
Experiencing the wisdom and communion with trees is a very simple process, with profound results and the prospect of a beautiful and long lasting friendship. Trees are living beings and more than one person has experienced the whispering of the trees or a communion with them (usually in childhood).
Bring out the childlike wonder that lies within and take yourself to a wooded area. Clear your mind of all “adult responsibilities” (That’s right…get the thoughts of bills, mortgages and work out of your mind!) and just open yourself to the world around you.
Can you feel a presence there? Several presences? Try standing near a tree and focus on it…open up to it. You’ll feel its presence and you’ll soon feel if the tree is wanting to communicate with you…even if it’s just the urge to hug it or sit down at its base and lean against it.
Let your mind go and don’t focus on forcing communication. Just let it happen. Over time (maybe after a few visits), you will begin to notice a definite sense of connection.
With the weather warming up, this is a great time to commune with the trees as they begin to wake up from their slumber.
Questions to Ponder:
1.When you first learned to read and write, what feeling did you get? Did you feel a sense of a door to great knowledge opening for you? What do you feel those who are illiterate might be missing out on?
2. Again, we look at an initiatory process and gaining of wisdom in John Matthews’ story of Oghma on the Wheel of Taranis. What have you learned from ordeals in your life?
3. Would you say that any of these ordeals were self-directed like Oghma’s ordeal was?
4. Do you get the feeling that you may have a purpose but do not know what it is? How could you find that purpose?
5. Do you feel that you know what your purpose is? How have you found it? How do you intend to pursue it?
6. Looking at the Ogham, in what way could you use it in your daily life?
7. Have you ever created your own system of lettering and writing? Have you ever learned another culture’s system of writing, such as Chinese or Arabic? What feeling did you get from this knowledge or creation?
8. What would you say are the mysteries of the Ogham; in the letters themselves and their applications in daily life?
9. Have you ever gotten to know a tree? (If you’ve never communed with one, it may be well worth the experience to try!) What have you learned from this experience?