Ceo draíochta

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[ceo-draiochta]

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[irish-dress-history]

Moí Coire coir Goiriath or

'The Cauldron of Poesy'

An untitled Old Irish poem by an unknown poet written in the early 8th century (Breatnach 1981). In Irish, it is commonly known by the first line of the text: "Moí Coire coir Goiriath". The title 'The Cauldron of Poesy' was given to it centuries after it was written. The complete text of the poem, along with the Middle Irish annotations and glosses added by a later scribe, is found in the manuscript TCD MS 1337.

This poem is about the kinds of knowledge and ability required to be a great poet. It describes 3 metaphorical cauldrons found within each person. These cauldrons are vessels for different kinds of knowledge and skills. They are called Coire Érmae (the Cauldron of Progression), Coire Sofis (the Cauldron of Knowledge), and Coire Goiriath (Breatnach 1981, 1990). They can be upright (full of knowledge), inclined (half-full), or upside-down (empty), and events during a person's life can change the position of the cauldrons.

8th-9th c. bronze vessel from the Derrynaflan Hoard

This poem is frequently misinterpreted as describing some kind of metaphysical energy centers. Some people go as far as to link the cauldrons to Asian concepts like qi or chakras. The inaccurate translations used in these interpretations obscure the fascinating blend of Christian, Pagan, and possibly ancient Greek influences in this complex work of medieval Irish poetic lore.

Poetry was a complicated profession in medieval Ireland. Professional poets, known as filid, had a minimum of 7 years of formal education and were divided into 7 different grades with ánroth and ollamh being the 2 highest. In addition to writing and preforming poetry, an ollamh was required to memorize genealogies and compose satires (Carey 1997, Breatnach 1983, Breatnach 1981, eDIL). Bards were poets who lacked formal education and were considered to be of inferior grade to a fili (eDIL, MacNeill 1924).

I don't feel qualified to talk about these topics in depth, but I want to share an accurate translation of the poem and to discuss at least some of its cultural elements.

I know of 2 authoritative translations of this poem, one by P. L. Henry (1980) and one by Liam Breatnach (1981) which has some additions and corrections (Breatnach 1984, 1990, 2023). The translation of the poem I give here is almost entirely Breatnach's with the exception of a small section that I rewrote, because I found Breatnach's wording confusing. For the glosses and annotations, I included a few of Henry's translations and some additional information from other authors. My changes and additions are in purple. I chose to leave out more than half of the annotations, because there were so many they overwhelmed the poem. This did mean losing some information about the role of poets in medieval Irish society.

We don't actually know what the word goiraith means (eDIL). Henry translates it as warming, incubation, or maintenance, based on the inference that goiraith comes from gorad (heating or warming), the intransitive form of guirid (Henry 1980). This interpretation doesn't make sense semantically in the context of the poem. The gloss for goiraith translates as, "i.e. 'it has closed off great falsehood', i.e. 'near to me in every land'," (Breatnach 1981). The text of the poem indicates that the Cauldron of Goiraith is related to having knowledge of language and grammar, and to learning and knowledge in childhood (Breatnach 1981). I don't see how warming/incubation could relate to either closing off lies or knowing grammar.

In addition to not fitting the semantic context, the interpretation of goiraith = gorad = warming doesn't fit the poetic form. The 3 cauldrons form a triad in the poem, and triads in poetry are typically written using parallel structure. The names of the other 2 cauldrons, sofis (knowledge) and érmae (progression), are both nouns (Breatnach 1981, 1990), so it follows that goiraith should also be a noun. Guirid/gorad is a verb (Henry 1980). Breatnach identifies goiraith as a compound noun with the first syllable likely being gor 'warm.' He suggests that goiraith might mean something like 'raw material' but stresses that this translation is "speculative in the extreme; the only thing that we can be reasonably sure of is that it has to do with the initial stages of study" (Breatnach 1981).

Old Irish glossary for this post:

Amairgen: mythical ollamh of ancient Ireland

ánroth: the second highest rank of fili (eDIL)

bairdne: bardic craft or metre, a type of poetry considered inferior to the work of a fili (eDIL)

Éber and Donn: mythical Irish kings

Érmae: progression (Breatnach 1990) or motion (Henry 1980)

fili (pl filid): a professional poet with at least 7 years of formal education (Breatnach 1983)

imbas: poetic inspiration or prophetic knowledge which poets (filid) obtained through magical or supernatural means (eDIL, Carey 1997)

ollamh: the highest rank of fili (eDIL)

raind: verses of poetry? (cf eDIL rann)

síd: fairy mound (eDIL)

túath: group of people or territorial unit (eDIL)

(I apologize for the formatting. I can't figure out how format this nicely on tumblr.)

'The Cauldron of Poesy' translated by Liam Breatnach:

Mine is the proper Cauldron of Goiriath,(1) warmly God has given it to me out of the mysteries of the elements;(2) a noble privilege which ennobles the breast is the fine speech which pours forth from it.(3) I being white-kneed, blue-shanked,(4) grey-bearded Amairgen, let the work(5) of my goiriath in similes and comparisons be related - since God does not equally provide for all, inclined, upside-down (or) upright- no knowledge,(6) partial knowledge(7) (or) full knowledge,(8) in order to compose poetry for Éber and Donn with many great chantings,(9) of masculine, feminine and neuter,(10) of the signs for double letters, long vowels and short vowels, (this is) the way by which is related(11) the nature of my cauldron.(12) 1 goriath, i.e. 'it has closed off great falsehood', i.e. 'near to me in every land'. 2 Well has God given it to me out of the mysteries of the elements, or 'that naming which ennobles' is a raw instrument which He has granted to me out of the mysteries of the elements. 3 which pours forth poetry from it. 4 a tattooed shank, or who has the blue tattooed shank. 5 What my cauldron does is the relation of poetry on which there are said to be many forms, i.e. white and black and speckled, or the colour of praise on praise. 6 when it is upside-down, i.e. in foolish people. 7 inclined, i.e. in those who practice bairdne and raind. 8 when it is supine, i.e. in ánroth's of knowledge and poetic art. 9 with numerous displays out of the many 'great seas' of poetry, i.e. many chantings of poetry. 10 Old Irish had 3 grammatical genders. 11 This is the law which I relate about them, or it is the declaration by which poetry is related. 12 This is the function of my cauldron. I acclaim the Cauldron of Knowledge where the law of every art is set out as a result of which prosperity increases(1) which magnifies(2) every artist in general which exalts a person(3) by means of an art. 1 It confers increase of wealth on everyone. 2 'It makes great of' every art in general, or it generally 'makes great of' him who has that skill. 3 It gives exaltation to persons together with granting something to them, or his art exalts every person.

Where is the source of poetic art in a person; in the body or in the soul?

Some say in the soul since the body does nothing without the soul. Others say in the body since it is inherent in one in accordance with physical relationship, i.e. from one's father or grandfather,(1) but it is more true to say that the source of poetic art(2) is and knowledge is present in every corporeal person(3), save that in every second person it does not appear; in the other it does.

1 a fili only had full status (honor-price) if his father or grandfather was a fili (Corthals 2014). 2 of bardic art. 3 that it is in the body.

What does the source of poetic art and every other knowledge consist of? Not difficult; three cauldrons are generated in every person, i.e. the Cauldron of Goiriath and the Cauldron of Progression and the Cauldron of  Knowledge.

The Cauldron of Goiriath,(1) it is that which is generated upright in a person from the first; out of it is distributed knowledge to people in early youth.

The Cauldron of Progression, then, after it has been converted(2) it magnifies; it is that which is generated on its side in a person.

The Cauldron of Knowledge, it is that which is generated upside down, and out of it is distributed(3) the knowledge of every other art besides poetic art.

1 a cauldron in which 'great falsehood' has been 'closed off'. 2 Afterwards, after being turned over, it magnifies a person. 3 measured.

The Cauldron of Progression,(1) then, in every second person it is upside down, i.e. in ignorant people. It is on its side in those who practice bairdne and raind. It is upright in the ánroth’s of knowledge and poetic art.(2) And the reason, then, why everyone else does not practice at that same stage is because the Cauldron of Progression is upside down in them until sorrow or joy converts it.

How many divisions are there of the sorrow which converts it? Not difficult; four: longing,(3) grief,(4) and the sorrow of jealousy,(5) and exile for the sake of God,(6) and it is internally that these four make it upright,(7) although they are produced from outside.

1 a cauldron 'which turns over afterwards' in him. 2 the ollam of bardic art. 3 for his father. 4 for friends (Henry 1980). 5 after cuckolding. 6 on account of the extent of his sins. 7 it is out of its interior that these four convert the cauldron, although they are put into it from outside.

There are, then, two divisions of joy through which it is converted into the Cauldron of Knowledge, i.e. divine joy and human joy.

As for human joy, it has four divisions: (i) the force of sexual longing, and (ii) the joy(1) of safety and freedom from care, plenty of food and clothing until one begins bairdne,(2) and (iii) joy at the prerogatives of poetry after studying it well, and (iv)* joy(3) at the arrival of imbas which the nine hazel trees of fine fruit at Segais(4) in the síd’s collect and which is sent upstream(5) along the surface of the Boyne, as extensive as a ram’s fleece(6), swifter than a racehorse, in the middle of June once every seven years.* 

1 after (recovering from) sickness. 2 until he practices poetry. 3 at the coming of imbas along the Boyne or the Graney, ie a bubble which the sun cause on the plants, and whoever consumes them will have an art. 4 Segais is a well at Síd Neachtain which is the source of the River Boyne according to the Dindsenchas (Gwynn 1913). 5 Possibly referring to the hazel nuts falling into the well and being eaten by salmon. See discussion on imbas below. 6 ('extensive as a ram's fleece' refers to the surface area of the river covered). (A ram’s fleece being the largest size of fleece) *Division (iv) is the section of the translation I altered.

Divine joy, moreover, is the coming of divine grace to the Cauldron of Progression, so that it converts it into the upright position, as a result there are people who are both divine and secular prophets and commentators(1) both on matters of grace and of (secular) learning, and they then utter godly utterances and produce the corroborations(2), and their word are maxims and judgments, and they are an example for all speech. But it is from outside that these make the cauldron upright,(3) although they are produced internally.

1 (ie people versed in both secular and ecclesiastical learning) as were Cumain, etc. Colmán mac Lénin and Colum Cille. 2 (that is, commentaries confirming the truth of Scripture (Breatnach 2023)). 3 it is from outside that these 'are handed over’ into his cauldron. although they are produced on the inside, i.e. it is outside the person that the divisions of enlightenment 'operate' the converting of the cauldron, while composing poetry (?) i.e. the performing of their deeds caused the converting of the cauldron.

Concerning that, what Néde mac Adnai said: I acclaim the Cauldron of Progression with understandings of grace with accumulations of knowledge with strewings of imbas, (which is) the estuary of wisdom the uniting of scholarship the stream of splendor the exalting of the ignoble(1) the mastering of language quick understanding the darkening of speech the craftsman of synchronism the cherishing of pupils, where what is due is attended to where senses are distinguished where one approaches meanings(2) where knowledge is propagated where the noble are enriched where he who is not noble is ennobled, where names are exalted(3) where praises are related by lawful means with distinctions of ranks with pure estimations of nobility with the fair speech of wise men with streams of scholarship, a noble womb in which is cooked the basis of all knowledge(4) which is set out according to law which is advanced to after study which imbas quickens(5) which joy converts which is revealed through sorrow; it is an enduring power whose protection does not diminish. I acclaim the Cauldron of Progression. 1 ‘Its essence raises up' the ignoble people to make them of noble status ie with regard to equal honor-price. 2 Many varieties of knowledge are approached in it, i.e. tales and genealogies. 3 It gives exaltation to the names of the people to whom praises are made if they are uttered according to lawful means. 4 The imbas of the Boyne which is distributed lawfully afterwards. 5 The imbas of the Boyne or the Graney moves the cauldron.

What is the Progression? Not difficult; an artistic* ‘noble-turning’(1) or an artistic 'after-turning'(2) or an artistic course, ie it confers knowledge(3) and status and honour after being converted. *The MS has sai here, Breatnach tentatively interprets this as soí (artistic) 1 The 'conversion of knowledge’ to that which it has not done before is noble. 2 or 'which reverts afterwards' to that which it has done. 3 poetry or eloquence.

The Cauldron of Progression it grants, it is granted it extends, it is extended it nourishes, it is nourished(1) it magnifies, it is magnified it requests, it is requested of(2) it acclaims, it is acclaimed it preserves, it is preserved it arranges, it is arranged it supports, it is supported. Good is the source of measuring,(3) good is the acquisition of speech,(4) good is the confluence of power,(5) which builds up strength. It is greater than any domain, it is better than any patrimony, it brings one to wisdom,*(6) it separates one from fools.

1 He feeds a person together with (his) retinue, and he is fed together with (his) retinue, i.e. he provides entertainment and entertainment is provided for him. 2 He makes demands on the members of the túath, and entreaties are made to him for their forcibly removed cattle'. (This gloss refers to the function of the poet in enforcing claims on behalf of the members of his túath outside the boundaries of the túath, his means of enforcement being satire, and to the entitlements due to him for performing this function (Breatnach 1984).) 3 Good is the cauldron out of which one measures by letter and verse-foot. 4 Good is the cauldron in which is the 'fire of knowledge' 5 Good is the cauldron out of which all this is obtained. *Henry translates this line as 'it brings to (the grade of) a scholar'. 6 the same honour-price as a king. This gloss refers to the fact that an ollamh was considered worthy of the same honor-price as a king in medieval Ireland (Carey 1997).

Discussion: Divine Joy, Imbas, and Philosophy

An early 8th century composition date (Breatnach 1981) means that this poem was written a few centuries after the arrival of Christianity to Ireland. That the original author was Christian can be seen in the description of the divine joy that turns the Cauldron of Progression. Divine grace and divine prophets are common themes in Christian writing. The consistent use of God singular (Dia) as a proper noun and the mention of the body and soul as 2 separate entities also indicate a Christian author (cf Henry 1980). The mentions of imbas, however, suggest the acceptance of continued Pagan magic practices by the Christian author (Carey 1997).

The early 10th c. text Cormac’s Glossary clearly marks imbas as Pagan magic when it condemns the ritual of imbas forosnai for requiring offerings to Pagan gods (Russell 1995, Carey 1997). This attitude is in sharp contrast with earlier Irish texts like Bretha Nemed where having imbas forosnai is considered a required qualification for an ollamh (Carey 1997). 'The Cauldron of Poesy' is, perhaps, a middle ground between a pre-Christian norm, and later Christian intolerance. It categorizes imbas as one of the 4 kinds of human joy that can turn the Cauldron of Progression, something which is beneficial for an ollamh to have but not essential (Carey 1997).

How did a medieval poet obtain the supernatural knowledge known as imbas? In the ritual described in Cormac’s Glossary, the poet chews on raw meat, chants over his hands, and then sleeps with his palms against his face (Russell 1995), a practice which bears no resemblance to the one hinted at in 'The Cauldron of Posey'. Some modern scholars have questioned whether Cormac actually knew what he was talking about (Carey 1997). Some later medieval sources are more useful for making sense of the the arrival of imbas on the River Boyne mentioned in the poem.

The Dindsenchas about the River Shannon mention 9 hazels growing around the well of Segais which is the source of 7 rivers. The hazels, which are associated with poetic wisdom, drop their nuts into the water. The nuts are then eaten by salmon (Gwynn 1913). The 12th c. Macgnimartha Find explicitly connects eating salmon from the Boyne to gaining imbas. It tells how Finn Éces spent 7 years by the Boyne waiting to catch a salmon that would grant him knowledge only to have his student Fionn mac Cumhaill accidentally eat a bit of the fish while cooking it and gain the knowledge of imbas forosnai instead (Carey 1997). Salmon swim upstream to breed during the spring and summer in Ireland (Inland Fisheries Ireland) which might explain why the poem describes imbas as being sent upstream in the middle of June.

Based on these sources, it appears the ritual for gaining the joy of imbas was simply: go to the Boyne on the summer solstice of the 7th year, catch a salmon, and eat it. How you identified the correct year, I don't know, but perhaps it was linked to the 7 years of a fili's education.

Although the joys which turn the Cauldron of Progression could be either Christian or Irish Pagan, the metaphor of the cauldrons appears to have a completely different origin. The 3 cauldrons serve as vessels for different things. Coire Goiriath, given out of the (natural) elements, contains basic childhood knowledge. Coire Érmae (Progression) contains the capacity to expand a person's knowledge based on experiences of joy or sorrow. Coire Sofis (Knowledge) contains advanced knowledge of the arts. This setup bears a striking resemblance to Aristotle's 3-part concept of the human soul. Aristotle divides the soul into (1) the nutritive soul, possessed by all living things, which contains the most basic faculties necessary for survival, (2) the animal soul, possessed by animals and humans, which contains faculties for sensation and movement, and (3) the rational soul, possessed by humans, which contains faculties for thinking and logic (Corthals 2014).

The similarities between Aristotle and the cauldrons go beyond just dividing the inner workings of humans into 3 categories of increasing intellectual complexity. Coire Érmae is moved by experiences of joy or sorrow, much like Aristotle's animals, with their animal souls, move in response to desires to experience pleasure or avoid pain (Corthals 2014, Aristotle 350 BCE/1907). Furthermore, the sensations experienced by the animal soul that lead to pleasure or pain are caused by external forces much like the sorrows that move the cauldron are caused by external forces (Aristotle 350 BCE/1907).

If Coire Goiriath is inspired by Aristotle's nutritive soul, this might explain the enigmatic glosses: 'it has closed off great falsehood', i.e. 'near to me in every land'. As the nutritive soul was only concerned with basic survival, Aristotle believed it was incapable of producing lies (Aristotle 350 BCE/1907), hence the Cauldron of Goiriath would be incapable of producing falsehood. As for the second gloss, a person always has their basic survival instincts with them, no matter where they go. The decision to replace types of souls with types of cauldrons might have been made by an Irish poet who was looking for imagery that was more familiar to their audience. (See Henry 1980 for other examples of cauldrons used in medieval Irish literature.)

While it seems unlikely than an 8th c. Irish poet actually read Aristotle, the poet may have had access to other works inspired by Aristotle's ideas. For example, the 7th c. writer Virgilius Grammaticus describes a 3-part soul that seems to have been derived from Aristotle. Virgilius might have been Irish, and even if he wasn't, parts of his writing definitely made it to Ireland (Corthals 2014).

In addition to the religious and philosophical elements I've discussed, 'The Cauldron of Posey' also contains quite a bit of material on secular Irish society with topics including the education of poets, the status of poets, and the role of poets in settling disputes (Breatnach 1981, 1984, Corthals 2014). In the section on divine joy, it appears the poet is trying to create unity between secular and ecclesiastic views of learning (Breatnach 1981). These things are well outside my area, but I do want to point out that there is more to this poem than religion.

'The Cauldron of Posey' contains an intriguing mix of Christian and Pagan, secular and ecclesiastic, foreign and native, cooked together into a single harmonious poem. It shows us that the transition from Pagan to Christian was a gradual process with elements of both existing side by side. It also shows us that religion was just one piece of Ireland’s cultural history, and if we focus exclusively a search for spiritual meaning, we risk missing out on the rich cultural details.

Bibilography:

Aristotle. (1907). De Anima (R. D. Hicks, Trans.). Cambridge University Press. (Original work published ca. 350 BCE) https://archive.org/details/aristotledeanima005947mbp/page/n7/mode/2up

Breatnach, L. (1981). The Cauldron of Poesy. Ériu, 32(1981), 45-93. https://www.jstor.org/stable/30007454

Breatnach, L. (1984). Addenda and Corrigenda to 'The Caldron of Poesy' (Ériu xxxii 45-93). Ériu, 35(1984), 189-191. https://www.jstor.org/stable/30007785

Breatnach, L. (1990). On the Citation of Words and a Use of the Neuter Article in Old Irish. Ériu, 41(1990), 95-101. http://www.jstor.com/stable/30006290

Breatnach, L. (2023). Varia 1. Proclitic mis. 2. fírad. 3. Further to In Coire Érmae, ‘The Caldron of Poesy’. Celtica, 35(2023), 66-77. https://journals.dias.ie/index.php/celtica/article/view/6/5

Breatnach, P. (1983). The Chief's Poet. Proceedings of the RIA: Archaeology, Culture, History, Literature, 83C(1983), 37-79. https://www.jstor.org/stable/25506096

Carey, J. (1997). The Three Things Required of a Poet. Ériu, 48(1997), 41-58. https://www.jstor.org/stable/30007956

Corthals, J. (2014). Decoding the 'Caldron of Poesy'. Peritia, 24-25(2013-14), 74-89. https://www.scribd.com/document/721674860/Decoding-the-Caldron-of-Poesy

eDIL 2019: An Electronic Dictionary of the Irish Language, based on the Contributions to a Dictionary of the Irish Language (Dublin: Royal Irish Academy, 1913-1976) (www.dil.ie 2019). Accessed on 6/30/24

Gwynn, E. (1913). Royal Irish Academy Todd lecture series: The Metrical Dindshenchas Part III (Vol. X). Hodges, Figgis, & Co., LTD. https://archive.org/details/toddlectureserie10royauoft/page/n3/mode/2up

Henry, P.L. (1980). The Cauldron of Poesy. Studia Celtica, 14/15(1979/1980), 114-128. https://www.seanet.com/~inisglas/henrycauldronpoesy.pdf

MacNeill, E. (1924). Ancient Irish Law. The Law of Status or Franchise. Proceedings of the RIA: Archaeology, Culture, History, Literature, 36(1921 - 1924), 265-316. https://www.jstor.org/stable/25504234

Russell, P. (1995). Notes on words in early Irish glossaries. Etudes Celtiques, 31(1995), 195-204. https://www.persee.fr/doc/ecelt_0373-1928_1995_num_31_1_2070Russell 1995

[juniper-divination-and-witchery]

Celtic Reconstructionism: Theology, Cosmology, and What CR Actually Believes

Celtic Reconstructionism (CR) is a polytheistic, animistic religious movement grounded in pre-Christian Celtic sources. If this is your first time here, start with the basics and then the history.

For readers coming from Wicca or eclectic neo-paganism, the structural differences are significant. CR is working from a different theology, not just a different set of deity names.

Polytheism: The Gods Are Real and Distinct

Where much of Wicca and eclectic neo-paganism works within a soft polytheist framework (“all gods are one god” and “all goddesses are one goddess”), CR holds that the gods are genuinely distinct.1

CR is a form of hard polytheism, specifically grounded in the polytheist traditions of the Celtic nations (Brittany, Cornwall, Ireland, the Isle of Man, Scotland, and Wales). The gods are individual beings with distinct personalities, histories, and domains, not aspects of a universal deity or archetypes of the collective unconscious.

The Jungian framing popular in some pagan circles (gods as psychological archetypes, projections of the collective unconscious rather than external beings) is also not a CR position. The exact metaphysical nature of that existence isn’t dogmatically defined; the movement doesn’t require practitioners to hold identical positions on what, precisely, a deity is. What it does require is engaging with them as distinct individuals rather than as symbols.

CR is also animist. The land, rivers, trees, and other natural features have spiritual presence. Specific hills, rivers, and wells are named in the Irish sources as home to specific spirits or deities: the Boyne to Bóann, the Shannon to Sionann. Scholar Marie-Louise Sjoestedt, writing in Celtic Gods and Heroes, observed that the Irish medieval mythographers described the ancient gods as prehistoric tribes who “still dwell there invisibly present, side by side with the human inhabitants.”2

The Maiden/Mother/Crone Problem

If you’ve spent time in any pagan space, you’ve encountered the triple goddess: Maiden, Mother, Crone. It’s ubiquitous in contemporary paganism.

The framework comes from Robert Graves’s The White Goddess, published in 1948. Graves was a poet and mythographer, not a scholar of Celtic religion. The Maiden/Mother/Crone model imposes a specific meaning (female divine power organized around reproductive lifecycle stages) that the Irish and other Celtic sources don’t support.

Celtic goddesses do appear in triple form, but these are functional groupings, not age-based progressions. Brigit appears in the sources as three sisters: one of poetry, one of healing, one of smithcraft. Sjoestedt says the triple Brigit is “adored by poets, smiths and leeches,” three domains of skill, not three life stages. The Morrígan similarly appears as a triple figure whose aspects relate to battle, fate, and sovereignty. Sjoestedt identifies the trio as the Badb, the Morrígan, and Nemain (or Macha, depending on the source), figures differentiated by how they manifest on the battlefield and in relation to fate, not by age or fertility status.2

Graves’s model ties female divine power to the reproductive cycle in a way the actual sources don’t. A goddess in Irish tradition is categorized by what she does and where she holds power: her domain and function, not her age or life stage.

Three Realms: Land, Sea, and Sky

CR’s cosmology, its understanding of how the universe is structured, is built around three realms, not the four elements or four directions familiar from other pagan traditions.

In Old Irish:

Nem: sky (niv) Talam: land (TAH-lum) Muir: sea (mwir)

Swearing by sky, land, and sea was a standard way of invoking the whole of existence, the complete structure of the world, not three symbolic categories. Erynn Rowan Laurie describes this directly in A Circle of Stones: “It is upon this division, rather than the traditional western four elements of earth, air, fire and water, that the ancient Celts based their concept of the universe. Oaths were sworn by land, sea and sky. All things lived within the circle.”3

The four-element, four-direction ritual framework in Western neopaganism descends from ceremonial magic, specifically the Hermetic tradition as transmitted through the Hermetic Order of the Golden Dawn in the late nineteenth century.

Connecting the three realms, in Laurie’s framework, is fire. Specifically imbas (IM-us), the fire of poetic inspiration. Fire is the presence of the gods and the link between humanity and the divine.3 The imbas tradition in Irish mythology names a specific form of inspired vision sought by poets and seers. It involves altered states and deliberate withdrawal from the mundane world, and it gives the cosmological concept direct ritual application.

The three realms give CR practitioners a working map of who they are in relationship with: the gods, the spirits of the land (including the Aos Sí), and the ancestors. These aren’t rigid categories. A deity like Manannán straddles sea and Otherworld; the Tuatha Dé Danann, after their retreat into the sídhe, became the spirits of the land they once ruled. The realms orient the practitioner, not constrain the beings.

The three-part structure operates alongside a second, fivefold layer of sacred geography. Ireland was traditionally divided into five provinces (Connacht, Ulster, Leinster, Munster, and Meath at the centre), each carrying not just a directional orientation but a conceptual quality: learning in the west, battle in the north, prosperity in the east, music in the south, and kingship at the centre.4 Archaeologist J. P. Mallory describes this system as a “cultural cosmology, a way of partitioning the world” rather than a straightforward political map. The provincial capitals (Rathcroghan, Navan Fort, Knockaulin, Cashel, Tara) functioned as ceremonial centres whose Iron Age origins predate the medieval literary accounts by centuries.4 The three realms and the five provinces aren’t competing frameworks; one structures the cosmos vertically, the other structures the land horizontally, with Tara at the sacred centre.

The Otherworld

The Irish Otherworld, An Saol Eile (“the other world/life”), is not an afterlife in the Christian sense. It’s a parallel realm that coexists with the mortal world, accessible at certain places and times. It appears under multiple names in the sources: Tír na nÓg (Land of the Young), Mag Mell (Plain of Delight), Tech Duinn (the House of Donn, where the dead gather), Tír fo Thuinn (Land Under the Sea). These aren’t synonyms for a single unified realm; they name different regions of an unseen geography.3

The Otherworld coexists with the mortal world, accessible at certain thresholds rather than located at a remove from it. Access points to these other realms include the sídhe mounds, caves, lakes, and the western sea. Liminal times, especially Samhain and Bealtaine, thin the boundary between worlds.

In the Lebor Gabála Érenn (Book of Invasions), the Tuatha Dé Danann don’t leave Ireland after their defeat by the Milesians. They withdraw into it, retreating into the sídhe mounds, the hills, and the rivers. This is why the Aos Sí (the fairy folk) and the gods are related concepts in Irish tradition: the gods became the spirits of the land. Sjoestedt describes the Irish mythographers presenting the ancient gods as beings who still dwell invisibly present beside the human inhabitants.3

The relationship between the dead and the Otherworld is complex in the sources, and CR doesn’t flatten it. Irish cosmology offers no single unified afterlife, and CR doesn’t impose one.

Ritual Structure: What CR Practice Actually Looks Like

Circle-casting and quarter-calling framework comes from late nineteenth-century ceremonial magic, specifically the Golden Dawn tradition, and was absorbed into Wicca through Gerald Gardner’s development of that religion in the 1940s and 1950s.

CR ritual centers on prayer, offering, and hospitality. Daily devotional practice is weighted more heavily than periodic elaborate ritual. In practice, this usually means a home altar: a cloth, a candle, images or symbols of the deity or ancestors being honored, a bowl for offerings, kept and tended regularly.

Offerings are simple: milk, ale, mead, hazelnuts, wine, apples, oats, butter, pork. All are well-attested in the mythology and folklore as preferred by gods and spirits.3 Nothing needs to be sourced from a specialty shop. Regular, modest practice carries more weight than an elaborate occasional ritual that rarely happens.

Reciprocity is the underlying concept. Offerings are expressions of ongoing relationship, not transactions. Flaithiúlacht (FLAH-hyoo-lacht), meaning hospitality, is both a social virtue and a ritual one in Irish tradition. Laurie puts it plainly: “In the Celtic world, hospitality is a sacred duty.”3

Ethics: Where CR Draws Its Moral Framework

CR ethics come from Celtic primary sources, not the Wiccan Rede. The primary texts for Irish CR are the Triads of Ireland (Tríada Éireann), a medieval collection of wisdom sayings covering kingship, personal conduct, and social obligation; the Instructions of Cormac Mac Airt (Tecosca Cormaic), advice attributed to the legendary king on truth-telling and right behavior; and Brehon law (Fénechas, “law of the freemen”), the pre-Norman Irish legal system, restorative rather than punitive and focused on compensation and the repair of social harm.5

Three concepts from these sources appear throughout CR practice:

Fír (feer): truth, meaning not simply honesty but alignment between words and reality at a structural level. Oath-breaking and false witness were among the most serious violations in Irish tradition. The concept runs through law, mythology, and the ethics of kingship: a king who spoke falsehood was believed to cause physical harm to the land itself.

Enech (EN-akh): literally “face,” meaning honor or social standing. Your enech is your reputation as maintained through right action, damaged by lying, cowardice, or failure to meet your obligations. The related legal concept, lóg n-enech (logue n-EN-akh), is the “honor price,” a person’s assessed social value under Brehon law, which determined the scale of compensation owed when they were wronged. In early Irish law, enech and “face” were the same word; to shame someone was to make them red in the face, synonymous with an offense against their honor.6

Flaithiúlacht: hospitality, introduced above as a ritual virtue and equally an ethical obligation. The CR FAQ describes CR ethics as a “virtue theoretic ethical system,” meaning positive guidelines for behavior rather than a list of prohibitions.1 Hospitality is one of those positive obligations.

All three concepts are embedded in a specific historical and cultural context, developed within a society that treated the social and spiritual worlds as continuous with each other. A CR practitioner engaging with them is engaging with a real historical ethical system.

Related Reading

CR sits inside a wider ecosystem of Celtic tradition. These pieces offer practical entry points into the Irish practices and folk beliefs that surround the theology:

The Evil Eye in Irish Folklore: how folk belief in the evil eye operated alongside formal religion, and the folk cures that responded to it.

Bealtaine: Irish May Day Traditions: one of the liminal thresholds named above, with the seasonal observances that grew around it.

St. Brigid’s Day Crosses: the continuity between Brigit as pre-Christian goddess and Brigid as saint, expressed through a surviving folk practice.

How to Read Ogham Divination: the Irish tree alphabet as a ritual and divinatory system that fits the CR framework.

Irish New Year Folk Magic: Lá Coille: seasonal folk observance drawn from Irish sources.

The New Moon in Irish Folklore: how lunar observances entered Irish folk practice.

The next article in this series will cover the gods themselves: who the Tuatha Dé Danann are, what the sources actually say about them, and how CR practitioners relate to specific deities today.

CR FAQ ↩︎ ↩︎

Celtic Gods and Heroes by Marie-Louise Sjoestedt ↩︎ ↩︎

A Circle of Stones: Journeys and Meditations for Modern Celts by Erynn Rowan Laurie ↩︎ ↩︎ ↩︎ ↩︎ ↩︎ ↩︎

The Origins of the Irish by J. P. Mallory ↩︎ ↩︎

Wikipedia: Early Irish Law ↩︎

The Honor Price in Brehon Law ↩︎

[juniper-divination-and-witchery]

The "All Snakes Day" Myth: What Actually Happened in Ireland

Every March, the same story circulates in pagan spaces:

St. Patrick’s “snakes” were Druids

Patrick was a conqueror

March 17th is a holiday celebrating the destruction of Irish paganism

The problem is that none of these points are true. Ireland never had snakes. The snake miracle was invented centuries after Patrick died. And the Christianization of Ireland looked nothing like a genocide. The “All Snakes Day” story feels meaningful, but it’s built on fabrications — and pagans interested in Irish history deserve the actual record instead.

Where “All Snakes Day” Comes From

The pagan author and Druid Isaac Bonewits coined the term “All Snakes Day” and wrote songs about welcoming the “snakes” back to Ireland. Wild Hunt, 2012 The claim is that Patrick’s “snakes” were actually Druids, making his legendary snake-banishing a stand-in for pagan persecution. The idea spread through neopagan communities online in the 2000s and 2010s and became a seasonal staple.

Bonewits was the founder of Ár nDraíocht Féin and a well-known figure in American paganism, which helped give the story credibility in some circles.

Ireland Never Had Snakes

The most basic problem with the All Snakes Day story: there are no snakes in Ireland’s fossil record at all.

Ireland’s land bridge to Britain closed around 8,500 years ago as glaciers melted after the last Ice Age. Snakes hadn’t reached Ireland before the sea cut the connection. Popular Science, 2024 Nigel Monaghan, keeper of natural history at the National Museum of Ireland, reviewed the fossil record and put it plainly: “At no time has there ever been any suggestion of snakes in Ireland — nothing for St. Patrick to banish.” National Geographic

In fact, writers were already noting Ireland’s lack of snakes before Patrick was even born. The Roman author Solinus recorded it in the 3rd century CE. Science Musings Patrick had nothing to do with it.

The Snake Miracle Was Added Centuries Later

Patrick’s earliest biographies were written in the 7th century, about 200 years after his death. The snake miracle appears in none of them.

The story first shows up in the 11th century. A more well-known version was written by Jocelin of Furness in the 12th century. Ireland’s Folklore and Traditions

Celtic Reconstructionist scholar P. Sufenas Virius Lupus said in 2012:

The hagiographies of St. Patrick did not include this particular ‘miracle’ until quite late, relatively speaking — his earliest hagiographies are from the 7th century, whereas this incident doesn’t turn up in any of them until the 11th century. Wild Hunt, 2012

There’s also a logic problem with the “Druids as snakes” reading. The 7th century biographies by Muirchú and Tírechán have Patrick fighting Druids constantly. He fights them openly, with earthquakes, curses, and skull-crushing. Wikipedia: Muirchú moccu Machtheni If later writers wanted to describe a purge of Druids, they had no reason to suddenly become cryptic. It had already been said plainly.

The earliest anyone proposed that snakes meant Druids was W.Y. Evans-Wentz in Fairy Faith in Celtic Countries (1911) and even he called it personal speculation. Morgan Daimler, reviewing the text, described the logic as “faulty.” Living Liminally

What the Conversion of Ireland Actually Looked Like

Christianity was already in Ireland before Patrick arrived.

In 431 CE, Pope Celestine sent a bishop named Palladius to Ireland as the “first bishop to the Scotti believing in Christ.” The wording matters: you don’t send a bishop to a community that doesn’t exist yet. There were already Christians there. Prosper of Aquitaine, Chronicon, 431 CE, via Wikipedia: Palladius Britannica History Ireland

The real Patrick was, in his own telling, enslaved in Ireland as a teenager, escaped, and came back as a missionary. His own writing describes beatings, robbery, and real doubt about whether his work had any lasting effect. Strange Horizons / Bridgette Da Silva Living Liminally He was not a conqueror, and his writings are still readable today at confession.ie.

The druid-fighting warrior version of Patrick came from Muirchú’s 7th century Vita Sancti Patricii, written about 200 years after Patrick’s death. It had a clear political goal: promoting the Armagh church’s claim to lead all of Irish Christianity. Wikipedia: Muirchú Strange Horizons It’s church propaganda, not a historical record.

Ireland stayed mostly pagan for eight or nine generations after Patrick died. Living Liminally, citing Da Silva Druids kept working as folk magicians and diviners. Irish law texts from the 7th and 8th centuries CE still describe druids (draoithe) as active in society. Wikipedia: Druid Some joined the Christian clergy as that became the new intellectual class. Strange Horizons, citing Peter Berresford Ellis

Pagan beliefs didn’t die. They blended. Samhain became All Saints’ Day. Brigid’s feast overlapped with Imbolc. Belief in the fairy folk was still alive when Irish schoolchildren recorded local folklore from older community members in the 1930s that is now accessible on Dúchas.ie.

This conversion was a slow process that took centuries. It was not a genocide. There is no historical evidence of a violent purge of Druids.

Why the Myth Keeps Circulating

The “pagan survival” idea — that modern paganism descends from an unbroken pre-Christian lineage that survived persecution — is emotionally appealing but historically weak. Ronald Hutton’s Triumph of the Moon (Oxford University Press, 1999) showed that modern pagan witchcraft is a new religious movement, not an ancient survival. The claimed ancient roots are mostly Victorian and 20th-century inventions. All Snakes Day fits this pattern: a modern story that feels like recovered history.

The genocide framing also gives communities a shared story of persecution and a sense of historical roots. But it’s not a good reason to accept bad history.

The story also gets used as a simple argument against Catholicism and Christianity, turning a complex religious shift into a villain story. That doesn’t help anyone who actually wants to understand Ireland.

These myths ends up hurting Irish and Irish diaspora communities trying to connect with real heritage. The people most drawn to the story often end up with invented history instead of the real thing.

What to Do Instead

The impulse behind All Snakes Day is not the problem. Celebrating pre-Christian Irish culture, honoring Ireland’s traditions before Christianity, wearing a snake pin — none of that needs a fake genocide behind it.

The Henge of Keltria offers a “Feast of Age” as a March 17th alternative: a community celebration not built on invented history. The Witching Path

Better still: learn what Irish people actually did on St. Patrick’s Day. The Dúchas Schools’ Collection — a collection of folklore recorded by Irish schoolchildren in the late 1930s — documents the real customs: the shamrock’s religious meaning, the “drowning the shamrock” drinking tradition, St. Patrick’s Cross worn by women and children, the sally stick carried for household protection, holy well patterns, and farming markers tied to the agricultural year. All those traditions are covered in my next article.

You can also critique the plastic Paddy commercialization, the green beer, the novelty hats, the way Irish-American culture rebuilt the holiday, without inventing victims to make the point.

The actual history of Ireland’s religious shift is more interesting than the myth. Beliefs layered and blended over centuries. Druids became clergy. Fairy faith lived alongside Christianity into living memory. That story is worth knowing and worth protecting from the tidier, false version.

[beneaththegildedmoon]

I want so badly to speak and listen to irish more, I've lost so much fluency since leaving school and moving to the UK (almost a decade ago now), but i truly do not have the energy to seek out more socialising right now and practicing by myself is unlikely to be of much use unfortunately.

In light of all that, does anyone have any recommendations for good podcasts/shows/films/books/etc. in irish? Ideally, stuff that's originally produced as gaeilge, not translations, but I'll take what I can get tbh. A *lot* of RTE/RnaG stuff I've tried is either desperately dull or intended for children, which has kind of put me off, but im sure there's good stuff on there that I just haven't heard of

[an-spideog]

Books for Irish Learners

Here's a book list I try to maintain, it rates books by difficulty along with noting whether they are originally in Irish or translations.

I think in general you will indeed have to take what you can get, since it's a minority langauge there's just not the same volume of content as you'll find for other stuff, and especially not the same amount of accessible content.

(Also unfortunately some of the best stuff on the list is in the hardest levels :( )

[juniper-divination-and-witchery]

Ogham Divination: How to Read the Irish Alphabet for Guidance

Ogham is an ancient Irish alphabet from the 4th-5th century CE. It has 20 letters called feda, most of them named for trees or plants. Medieval Irish manuscripts describe druids and heroes using ogham-inscribed sticks for divination and magical purposes.

You can practice ogham divination with items you already own. Wooden sticks, painted stones, even slips of paper work fine. No expensive tools required. The accessibility of the system makes it practical for beginners while offering depth for experienced practitioners.

This guide gives will cover how to do divination with ogham. If you want more historical background on ogham as a writing system and its archaeological evidence, start with this introduction to ogham first.

The Robert Graves Problem

Many people first encounter ogham through Robert Graves’ book The White Goddess and his “Celtic tree calendar.” Graves published this system in 1948. He invented it.

Ogham is not a calendar. It has no connection to astrology or seasonal time-keeping that we know of. Graves created his tree calendar by selecting associations he liked and arranging them into a system that fit his poetic theories. The historical record doesn’t support his claims.

The alphabet does connect to trees and plants through the letter names (Beith means birch, Dair means oak, Sail means willow). But medieval Irish sources assign many other associations to each letter beyond just trees. Reducing ogham to a “tree alphabet” or forcing it into a calendar framework ignores the actual complexity of the system.

This guide uses bríatharogam from medieval manuscripts rather than modern inventions. When you read “withered foot with fine hair” or “greyest of skin” for Beith, you’re working with kennings that medieval Irish scholars recorded, not 20th-century speculation.

Why Bríatharogam Matter for Ogham Divination

Medieval Irish manuscripts preserve three sets of kennings for each ogham letter, along with a color, animal and other associations. These poetic phrases work like riddles, each offering a different angle on the letter’s meaning. The three sets come from different sources and traditions, attributed to the scholar Morainn mac Moín, the poetic name Maic ind Óc (the Young Son), and the hero Con Culainn.

Take Fearn (alder) as an example. Morainn’s bríatharogam calls it “vanguard of warriors.” Maic ind Óc calls it “milk container.” Con Culainn calls it “protection of the heart.” These three phrases give you layers to work with when Fearn appears in a reading. You might interpret it as needing to fight for something, as nourishment and sustenance, or as vulnerability requiring protection. The medieval sources understood that symbols carry multiple meanings.

This layered approach to interpretation has historical roots. Irish literary tradition valued ambiguity and multiple meanings in language. The bríatharogam reflect that sophistication.

How to Read Ogham Divination

Single Draw: Draw one fid for a yes/no question or daily guidance. Read its meaning and apply it directly to your situation. Simple, fast, effective.

Three Paths Spread: Draw three feda and lay them in a row. The first shows where you’ve been, the second shows where you are, the third shows where you’re heading if you continue on your current path. Good for decision-making and understanding trajectory.

Casting Method: Hold all your feda, focus on your question, and scatter them on a cloth. Read only the ones that land face-up. Feda that land close together relate to each other. Those near the center of the cloth matter most to your current situation. Ignore any that fall off the cloth entirely.

You don’t need special training to read ogham. Start with the meanings in the guide. Your intuition develops through practice as you work with the symbols and see how they show up in your life.

Making Your Own Ogham Divination Set

Find twenty wooden sticks roughly the same size and carve or paint the ogham letters on them. Collect twenty smooth stones and mark them with permanent marker or paint. Cut twenty pieces of paper or cardstock and draw the symbols.

You don’t need to purchase manufactured sets. Making your own becomes part of learning the system. As you create each fid, you spend time with its name, its shape, its associations. That time matters.

The guide includes visual reference for all 20 letters so you know exactly what to draw or carve.

About the Ogham Reference Guide

The guide is available as a PDF download on Ko-fi. It’s structured as both a quick reference and a learning tool. Each fid gets its own page with pronunciation, all three bríatharogam, traditional associations, and modern divinatory meanings.

The information comes from medieval manuscript sources rather than modern invented systems. Historical accuracy matters when you’re working with a tradition that has actual documentation. You get the real thing, not someone’s 1940s fantasy about what Celts “must have” believed.

The guide works for beginners who need foundational knowledge and for experienced practitioners who want a reliable reference with historical backing.

Start Where You Are

You already have what you need to practice ogham divination. Paper and pen. Sticks from your yard. Stones from a walk. The tools are simple because the practice itself is accessible.

Get the Ogham Reference Guide to learn the feda and their meanings. If you want more historical context about ogham as a writing system and its archaeological evidence, read this introduction to the ogham alphabet.

The practice builds from there.

[blackcrowing]

Important Facts about Imbolg from an Irish Celtic Reconstructionist

Spelling and Pronunciation

Imbolc, as it is often written, or Imbolg, as it is written in older texts is pronounced like Im-bolɤg, for only English speakers think of that ending g/c sound as being a back of the mouth guttural sound (similar to ‘ch’ in loch)

Dates

Most reconstructionists celebrate Imbolg on Jan 31- Feb 1, while others choose to observe it on the first day of the month by the Julian Calander (which currently is a difference of about 13 days), from sundown to sundown. However in the most “traditional” sense this festival has been linked to the first birthing of lambs.

Importance in the Mythos

Imbolg is not discussed extencively in the mythological texts of Ireland but a 10th century version of Tochmarc Emire names Imbolc and lists it as taking place “when the ewes are milked as spring’s beginning”

Celebration Traditions

These days Imbolg is deeply intertwined with the celebrations of St. Brigid’s day. This is obviously most likely because Brigid the Pre-Christian goddess was replaced in the hearts and minds of the Irish by her Saint iteration and as such her festival was also commandeered.

It is now most often associated with things like the healing springs of Ireland (which had sacred properties before Christianity and likely were part of the festival before it was Christianized), the hearth flame (though this is likely from Kildare’s St. Brigid’s cult more so than the Pre-Christian iteration of Brigid), Brigid’s crosses and dolls and Brigid “visiting” homes and birthing beds named after her. It is almost impossible to definitively say which if any of these practices may have grown out of the activities and practices of the Pre-Christian festival and which originated only with St. Brigid.

Art Credit @feyspeaker

My Kofi

[blackcrowing]

Authentic Irish Foods for Imbolg

🫓 Bannock - unleved oatcake (I would recommend using dried blackberry for the fruit)

🍲 Oat Based Porridge- These could contain any of the following ingredients to add flavor and nutrients

🥛🐑🧈 Fresh Ewe's milk and butter

🍯 Honey

🌿 Native Culinary Plants that grow in Ireland this time of year

Dandelion

Wild Onion

Wild Mustard

Cowslip

Gorse

Nettle

Chickweed

Burdock

Sheep and Wood Sorrel

Yarrow

Winter Cress

🐟 Salmon and Seaweed - there is some debate around how much the Ancient Irish actually consumed fish and sea food (since it greatly fell out of vogue after the intervention of the English around the 16th century, but it seems safe to assume that early communities who depended on the natural cycles of foods would not have let these opportunities pass them by especially with winter food stores emptying)

[fiagai-cnuasaitheoir]

Lá Féile Bríd

it was an old custom for the children to dress up a rag doll and then go from house to house collecting money. A few days before Brigids day all the girls make crosses and rag dolls. The girls get ready. They put old clothes on them and each of them gets a rag doll. They go out in groups of two. They go round to every house. They used to get a penny in some houses two pennies in other houses and so on like that.

This is still practiced by some communities in Ireland.

Often these would be straw dolls that they would dress in white. Some people dressed up a sod of turf. Some called it the Biddy, some called it a Brighid óg or Brídeóg. They would go from door to door looking for pennies or anything the people will give them. They have a little song -saying " Something to bury poor Biddy ".

They would go to three or four villages. When they had travelled to all the villages they would count up the money and divide it between them.

Rushes were a big part of tradition. People often made rush hats and crosses (Crosóg Brígdé) that involved special rituals. (The crosses are something that evolved because Brigid was initially a pagan god adopted by christianity

But a lot of the practices to do with the cross are very pagan seeming)

The crosses are left up in the roof of the house. The cross is supposed to save the home from thunder and fire.

When the meal is being prepared, the family member who cooks gets potatoes ready. They peel the skin off them and boil them. They put salt and onions and mashes altogether with a beetle. These mash potatoes were called Bruightees. When the Bridget's cross is finished. The cross is put under the pot of Bruighteens. The family sit down to supper. They usually had a great feast on Bridgets day.

Some women would get a silk handkerchief which they called a Brattag-Breeidge. They would bless this handkerchief and give it to one of their daughter's who went with it outside the house.

The door would be latched. The daughter or child leaves the Brattag on a rose bush. Then would come back and raps at the cabin door. The mother asks who is there and the girl answers "I am Bridget". The woman answers a hundred thousand welcomes to ye Bridget. The door is opened and the younger girl enters and this brings a blessing to the home. When morning comes Bridgets day the Brattag is taken in from the rose bush, it is blessed. Brattag is preserved in the home and is used as a cure a sick or dying person. They go to three or four villages. When they have travelled all the villages they count up the money and divide it between them

It is an old custom to measure a piece of ribbon on the wall on the eve of Bridgets Day which is the second of February and to put it out on a tree that night and bring it in next morning and if it measures the same length as the night before it may be used as a cure for a headache by putting it round the head. Some people have great belief in the cure and when they get a headache they put his bandage round the head and get cured immediately.

Theres a saying that if the hedgehog comes out of his hole on Bridgets day, if he see his shadow he will go in again for he knows that Winter is not yet over, but id he does not see it, he will remain outside for he knows Winter is over.

[fiagai-cnuasaitheoir]

Lá Féile Bríd Shona

[lebornaciar]

the great big ogham resource post

originally posted in a thread at the polytheist community forum, now crossposted (with minor edits) to tumblr for the edification and interest of the irish and gaelic polytheist community.

what is ogham?

ogham is a system of writing consisting of notches attached to a central “stem” that was developed in order to write in early and old irish. its primary usage was in the form of inscriptions on stone monuments, but the letters were also carved into wood or metal as a method of sending messages or denoting ownership of an item. it is also used in mythology for magical purposes and occasionally for divination. you may also see words written in ogham as marginalia in irish texts–notes from the monks illuminating manuscripts about a variety of things, such as their mood at the time of writing or the conditions they are working in.

a marginal note that spells out latheirt, meaning “massive hangover.” irish monks go hard.

there are approximately 400 surviving monuments inscribed with ogham in ireland and parts of britain, the majority of which are in the south of ireland. outside of ireland, the largest collection is in pembrokeshire, wales. because ogham was used mainly in monumental carving, it may be read either horizontally or vertically. on some stones, an inscription goes up vertically and continues in an unbroken line horizontally across the top of the monument. it is read vertically from bottom to top and horizontally from left to right. this means that notches found on the right side of a vertical stem are on the bottom of a horizontal stem, while left notches are found on the top. the ogham alphabet consists of twenty main letters (also called feda or sometimes nin) and five or six additional letters, or forfeda (extra feda). you may occasionally see the ogham alphabet referred to as the beith-luis-nin, which means either “the beith-luis letters” (after the first two letters of the system, akin to “alphabet” or “futhark”), or is a shorthand for beith-luis-fearn-sail-nion (beith-lfs-nion), after the first five letters.

Keep reading

[blackcrowing]

Important Facts about Lughnasadh from an Irish Celtic Reconstructionist

Spelling and Pronunciation

OI. Lughnasadh (Loo-na-sa), sometimes spelled Lughnasa or Modern Irish Lúnasa. Not to be confused with other harvest festivals like Lammas.

Dates

Most reconstructionists celebrate Lughnasadh on July 31st - August 1st from sundown to sundown by the Gregorian calendar, while others choose to celebrate the transitional period between the months as they would have been by the Julian calendar (about 13 days later by the Julian calendar).

Traditionally this festival likely would have happened as the grains were ready for harvesting or possibly even when the wild bilberries were ripe (as some scholars mention that if the grains were not ripe they would still preform a ritualized ‘first harvesting’ but it is possible this tradition came after the festival was firmly tied to a calendar date.)

Importance in the Mythos

In the mythologies it is well documented that this festival coincides with Lugh’s funeral games in honor of his foster-mother Tailtiu, known as Aonach Tailteann. In the mythologies she is said to have died of exhaustion after clearing the plains of Ireland for agricultural needs. The first documented instance of Lughnasadh in the mythologies was in the Wooing of Emer, Tochmarc Emire, which makes sense given the importance of marriages at this time of the year. It is not known specifically but widely speculated that the curse of the Ulstermen by Macha took places at the horse race for this festival.

In later time periods it is common to see a form of struggle, normally between the ‘protective’ forces and ‘destructive’ forces. The modern equivalent being the struggle between Saint Patrick and Crom Dubh but this is likely a reflection of an early struggle between Lugh and Balor (which I previously mentioned in my info-dump on Bealtaine).

Celebration Traditions

Aonachs, funeral games, have (to the best of our knowledge) been a custom in Ireland since the bronze age and were practiced on and off into the middle ages. They had both personal and community functions and occurred in three stages. Stage one was the funeral proceedings themselves. They would last one to three days, likely depending on the importance of the individual in question. Mourning songs and chants were participated in by both the attendees and the Druids. The second stage was for proclaiming of laws. Aonachs were a time when universal piece between túaths was declared. The third stage was that of Cuiteach Fuait, games that tested mental and physical abilities. These games included the well known horse and chariot races, wrestling games, boxing, high jumps but also competitions in strategy, singing, story telling and between various skilled craftsmen.

It was incredibly common for marriages to be arranged and preformed during this festival. More well known ‘trial marriages’ (lasting a year and a day) were still preformed at this festival up until the 13th century. It is likely that the coupling occurring at this time of year had an effect on the relationship to births seen at Imbolg (which falls 9 months later).

MacNeill, a leading scholarly expert on the festival, notes that a ritualistic bull sacrifice was made at this festival and the bull would then be eaten. I could not find any definitive evidence to support the idea, but I think it was likely that bulls in general would be culled from the herd at this point in the year to supply the feast.

Art credit @ire-ethereal

[ceo-draiochta]

Lughnasadh in the Modern Day

The ancient festival of Lúnasa is one of the 4 celtic fire festivals celebrated on the turn of the seasons. The other 3 festivals all have very clear christian reinterpretations. Those being All Hallows Eve, St Brigids day and May day. However Lúnasa also has a number of modern day christian holidays associated with it in much the same way.

(Linked sources in brackets)

Names

The modern festival goes by many names: Domnach Lúnasa, Lá Lúnasa, Domnach Crom Dubh, Bilberry Sunday and most commonly as either Reek Sunday or Garland Sunday. (1)(2)

Hill Climbing & Holy Wells

This is a day where the mountain of Croagh Patrick is visited, the pilgrimage consists of climbing the mountain while taking stops at certain stone cairns, where one walks in circles around them a set number of times while reciting specific prayers. There are 3 major sections where this is done(3). This is still observed today(4). It is celebrated on the last Sunday of July.

(Croagh Patrick)

This, while observed throughout the country, is not the only such celebration. Many towns climb their respective hills on this day such as those around Keash Hill in Sligo(2)(5)(11), Slive Donard in Down(6), and Máméan in Galway (7). Holy wells are also visited on this day such as in Cappagh, Galway(8), Ballyfa, Galway(9) and Ballyhaunis, Mayo (12). In some cases a procession from the Holy Well to the hill takes place (2)(7)(11)

(Máméan)

An interesting example of this was the Tullaghan Hill holy well in county Sligo, where the Holy Well was on a hill specifically the Ox mountains. This specific well used to be visited on Garland Sunday but is no longer as the festival that followed this visit evoked too much "secular fun" (10).

Festivals

Fairs and celebrations seem to be a core feature of this Lúnasa Tradition, with the aforementioned Tullaghan Hill fair, The Old Fair Day in Tubbercurry, county Sligo (13) and Fair Day in Kenmare, Kerry(14). These are usually celebrated in the second week on August, i.e. a week or two after the religious excursion.

The Puck Fair is festival in Killorglin, county Kerry. It is celebrated in the second week of August and involves crowning a specific goat "king" and parading them around while a large fair takes place(15).

(Puck Fair)

Pagan Connection

The pagan connection is quite clear to see, with Holy wells long being sites of pre-Christian worship, it is little coincidence that they are visited around the time of Lúnasa. The climbing of a hill is not connected to mythological lore but seems to be widely practiced. The fact that Keash Hil (Corran) and Croagh Patrick are both home to ancient megalithic cairns, which are commonly connected with the Otherworld is an interesting point.

Lúnasa being an Aonach, a funeral festival for the foster mother of Lugh, Tailtiu does tie directly into the occurrence of festivals around this time.

Practices to Adopt

It seems clear now that visiting watery sites such as wells and climbing hills to worship, as well as large scale festivals and merriment are a key part of how Lúnasa has continued to be celebrated and should be incorporated into a modern Irish pagan practice.

[an-spideog]

The Copula - The Most Overlooked Part of Irish Grammar

Okay so during the last lesson I gave a big warning which I'll give again here, you cannot use tá to link two nouns directly, for phrases like "Fionn is a hero", instead you use "the copula" which is like a special verb with its own structures.

In the present tense the copula is "Is"

So "fionn is a hero" is "Is laoch Fionn" "Niamh is a princess" - "Is banphrionsa Niamh". "They are heroes" - "Is laochra iad" "I am a woman" - "Is bean mé"

The copula is really important to Irish, but it uses a few different structures which can make it one of the more challenging parts of the language.

The structure is different for "definite" nouns and "indefinite" nouns. Definite nouns are specific nouns, things like "the sword", "the swords", "my sword", "Fionn's sword". On the other hand, indefinite nouns are things like "a sword", "swords" not referring to a specific one/ones.

We saw the indefinite structure above. "Is [description] [subject]" "Is fear Fionn" - Fionn is a man. "Is fir sinn" - We are men. (You could use muid here too, but sinn is what's used in munster. "Is fear an rí" - The king is a man.

These are indefinite because the description is indefinite - "a man", "men" rather than "the man" or "the men".

Sometimes you'll see a pronoun before the subject, this is common but it doesn't change the meaning and isn't strictly necessary:

Is fear é Fionn - Finn is a man

Is banphrionsa í Niamh - Niamh is a princess

Is laochra iad Fionn agus Oisín - Finn and Oisín are heroes The pronoun should match the subject that follows it.

The copula has negative forms, and past tense forms etc.

Ba laoch Fionn = Finn was a hero

Ní laoch Fionn = Finn is not a hero

Deir sí gur laoch Fionn = She says that Finn is a hero

An laoch tú? = Are you a hero?

The copula does not have a future tense form, another structure is used in cases where that could come up which will be discussed in a later lesson.

Moving on to definite descriptions, if we want to say something like "Cormac is the king" we say "Is é Cormac an rí" OR "Is é an rí Cormac".

This first pronoun doesn't really convey any additional meaning but it is necessary in this structure. It should match the gender of the person if we're talking about a person, and otherwise it should match the noun that comes directly after it.

The general rule here regarding the order is that you put the new information first. So the first one is informing someone who the king is, and the second one is informing someone who Cormac is.

"Is í mo mháthair an ridire" - The knight is my mother

"Is é an ridire an rí" - The knight is the king

If the subject is a third person pronoun (he, she, they, it), then there will be two pronouns in the sentence

"Is é an gadaí é" - "He is the thief"

"Is í an bhanríon í" - "She is the queen"

Is iad na ridirí iad" - "They are the knights"

Deir sé gurb é an rí é - "He says he's the king"

(In some dialects the final pronoun is dropped, "is é an gadaí" but it's common to keep it in Munster)

If the subject is another pronoun (I, you, we, y'all), then the pronoun comes first and the emphatic form is used

Is mise an rí - I am the king

Is sibhse na ridirí - Y'all are the knights

An tusa an bhanríon? - are you the queen?

Homework

Here's some example sentences for you to try yourself, you can also put them in the comments if you'd like or if you have any questions, please give me those too

Cormac is a knight.

She is a thief.

Are they heroes?

They aren't heroes.

She says she's the queen.

Are you the king?

Are we heroes?

Are we the heroes?

[juniper-divination-and-witchery]

Protecting home and fortune: Irish folk customs for Bealtaine

Bealtaine, also known as May Day, marked a pivotal point in the Irish calendar. It signified the arrival of summer, a time of light, warmth, and the promise of a bountiful season ahead. However, Bealtaine also held a sense of unease. This was a time when the boundary between our world and the Otherworld thinned, inviting the potential for both blessings and misfortune from the unpredictable Good Neighbors. To navigate this delicate balance, people turned to time-honored traditions and a heightened awareness of the risks of everyday life.

Appeasing the Good Neighbors

On Bealtaine, it was widely believed that the Good Neighbors became particularly active. To ensure their goodwill and prevent them from causing mischief, people would leave out food and drink as offerings. The belief was that the the Good Neighbors were attracted to these offerings and would be less likely to cause trouble if they were satisfied.

You all know May is the month of the fairies. Great people or men that lived long ago rises from their graves on every night in the month of May to fight the old battles that they fought long ago these men are called fairies. The bad fairies do great harm and trouble in the month of May they kill cattle take away milk and butter from the cows and alot of other mischief. Source

"The fairies come around our houses too to do mischief as well as they come to the cattle; you should sweep the hearth very clean and leave food aside for them. If you don't the fairies will come when you are asleep and will torment you by tricking you or pinching you." Source

Primrose

Primrose was believed to ward off the Good Neighbors, and scattering them in the doorways and window sills of the home created a barrier no troublesome spirit could cross.

"During the first three days [of May] fairies entered the house. They came disguised as old men or women in order to steal coals and in order to prevent them primroses were scattered on the doorway no fairy could pass this flower." Source

"The best preventive of fairy power was to scatter primroses on the threshold, for no one could pass the flowers and and the house and house-hold were left in peace." Source

"Guard the house by a string of primroses across the door on the first three days of May. The fairies can pass neither over nor under the string." Source

Rowan

This tree was seen as potent protection against otherworldly forces. A branch hung above a cow's stable door could ward off those who might steal the milk, ensuring the cow's blessing for the year. Branches decorated with spring flowers were also placed around the house for a bit of extra good luck.

On May Day before sunrise the eldest member of the family gets up, he goes out, pulls a branch of the rowan tree and hangs it over the cow's stable door. This is done to prevent the fairies from taking any of the milk from the cows. Source

Another custom is to get a branch of Rowan tree and decorate it with may flowers and primroses and leave it in the middin standing. Then strew may-flowers into each outhouse door and on the doorstep and in the windowsills. This is to welcome the good fairies so that there will be good luck round the year. Source

If you put a rowan tree up the Chimney nothing can bring the butter out of the house. Source

The May bush: blessing and protection

The May bush was a common custom in Ireland, particularly in Leinster, South and West Ulster, and some areas of Munster and Connaught. The May bush often featured hawthorn branches brought home and decorated with flowers, ribbons, and colorful eggshells saved from Easter.

The May bush was believed to protect the home from evil spirits, particularly fairies and witches. It was also thought to bring good luck and prosperity, especially in relation to milk and butter production.

It is a great custom also to make a May bush on May day. This consists of a bush, which is put standing in the dungpit. The bush is decorated with flowers and eggshells. The eggshells are kept after Easter Sunday. Source

On May morning a Maybush was placed outside each house. It usually was a yellow furze bush with a number of eggshells stuck on the thorns. Source

The people around this place make May-bushes on the first of May. They pull a bush and gather flowers and tie them on to the bush with strings and stick it on the ground and after that they say their prayers around it to honour our Blessed Mother and they make a little Altar and put flowers every day on it during May. The people long ago used to make May-bushes and they also used to make a little Altar. Source

The evening before the first of May the people go out and get a piece of a certain tree which they call May Pole. They put this bush outside the door and they put all the egg shells they had on Easter Sunday on it. They also put a lot of flowers out side too. If the people do not put up the May Pole the fairies will come. They also tie May Pole to the cow's tail and if they do not, the fairies come and take the milk from the cow. Source

Guarding your luck

Bealtaine is a time that came with a heightened fear that any careless act could invite bad luck for the whole year. During Bealtaine, even seemingly simple acts held risk.

Giving away even staples like milk, butter, or coins risked also surrendering your good fortune. Lending a tool or sharing even a hot coal from your hearth could lead to unexpected misfortune.

On May eve no one cares to give away any milk or butter fearing their luck would be taken. Source

Long ago the people used to have a large number of pisreogs on May day...They would not give away anything to anybody on May day, only to a beggar man. When he would come in they would give him great welcome. They would say he was bringing in the good luck. The old people would not allow anybody to bring fire outside the door. Everybody would have matches on May day. The old people would not allow any fire outside the door. Source

On May Eve or May Day nothing is given out of the house. Source

They considered it unlucky to give butter or milk way to any person on May Day as they would be giving away their luck. No stables were to be cleaned out on that day. The first person to go to the well in the morning was supposed to have luck for the rest of the year. It is not right to give money to anyone on that day. But if you get money on that day you will be getting it for the year. Source

The people of the house do not put out the ashes on that day or if a person asked for a coal they would be refused. Source

Another custom of the Irish, they would not lend any article or give either milk or food even to beggars. They would not light a fire on May Day until it was late in the day for fear that the people would see the smoke and would bring the butter. Source

The customs surrounding Bealtaine offer a fascinating glimpse into the rich tapestry of Irish folklore and the enduring human desire to shape our luck through ritual and tradition. Whether leaving offerings to appease unseen spirits, scattering flowers as wards against misfortune, or cautiously guarding their possessions, people sought to influence the unseen forces that shaped their lives. These traditions, born in a different time, speak to a fundamental human desire for control, for a sense of agency in the face of an uncertain world. While the specific fears and beliefs may have shifted, the impulse to use ritual and superstition as a means of navigating life's unpredictability remains surprisingly relatable.

[saint-0wen]

Bealtaine Customs

Bealtaine is almost here!

Bealtaine (bee-YAL-tin-eh) is the ancient Irish fire festival that starts the night of April 30th- Oíche Bealtaine- and is celebrated May 1- Lá Bealtaine (though festivities can last longer). Bealtaine marks the beginning of summer. In modern Irish Catholic tradition, May is celebrated as the month of the Blessed Virgin Mary.

These quatations are all pulled from the dúchas.ie folklore collection. To learn more, go to https://duchas.ie

Significance of Fire

The ashes was never put out on May Day long ago.

-Mrs. French, Co. Mayo

A central theme of Bealtaine is fire, as it is with all the Irish fire festivals. On the eve of the holiday, all fires were put out. A central fire was lit at the heart of the island, which spread throughout:

On May Eve the Druids lit the great sacred fire at Tara and as the signal flames rose up high in the air and then a fire is to kindled on every hill in Erin; till the whole island is on fire with fires.

-Patrick Healy Co. Galway

A similar tradition has been revived at the Hill of Uisneach.

Having a bonfire and spreading the light from that central point would be a great way to honor the sacredness of fire and celebrate Bealtaine.

Back then, people would also guide their cattle through two bonfires at Bealtaine, to cleanse and bless them for good health and abundance. Speaking of cattle...

Protecting Cattle

The people also tie a piece of red cloth on each cows' tail. This they tie on in the morning before letting them out. They do this to prevent the fairies from taking the cow's milk. Sometimes they tie a horse-shoe-nail or "táirgne crúth" in the cow's tails

-Mrs. Nora Maloney, Co. Mayo

On May Eve now people sprinkle Easter water on all the crops, cattle etc. and on the boundary fence. Perhaps this is apart from it's religious aspect a survival of the old dread of 'pishogues' when people dreaded harm to their crops and cattle.

Long ago the people went out on May morning and blessed the cow with a lighting candle.

-Patrick Lally, Co. Galway

And while we're talking about protection...

Yellow Flowers- Festive Protection

In years gone by the people used to throw a primrose in the byre door so that the fairies would not take away the milk from the cows for the year. It was at May eve that they threw this primrose in the byre door.

-William J Mc Laughlin

It is the custom for children to pick May flowers or Marsh marigolds on the last evening in April. These they throw on the doorstep or on the windowsill.

-Mrs. Norah Maloney, Co. Mayo

The first of May is called May Day or (Lá Bealtaine). On the eve of this feast the children gather may-flowers and place them on the window sills of the houses. 

-P. Mc Closkey

"Cow-slips were hung on the door that day to bring good luck for the year."

-Martin Costello, Co. Mayo

Try hanging up yellow flowers at your doors and windowsills for protection and good luck! If don't have any flowers, don't worry. There's another way to welcome in good luck...

May Day Dew

It is also said that if you get up early on that morning and wash your face with the dew on the grass you will be healthy during the year.

-Collected by Anthony Clark

They washed their faces in the dew on May morning before the sun rose and and they would not get sunburned again for the year.

- Mrs. French, Co. Mayo

If a person wanted to preserve their beauty , they would have to get up one hour before sun-rise and wash their face in dew off the grass on May morning.

-Collected by Amy Gilligan, Co. Mayo

That's all well and good, but there is something more sinister that May morning dew is useful for...

Baneful Butter Stealing

Long ago, on May morning, lots of old woman went out in the morning before the sun arose and swept the dew of the grass by pulling a long rope after them and calling, "Come all to me, come all to me.” This was a kind of witchcraft, taking away butter of other people’s milk.

-Collected by Rudy Stronge, Co. Donegal

It is also believed if one goes out early and milks the neighbour's cow, they will be able to get all the butter from that cow's milk so they will have double the supply while their neighbour will not get any.

Long ago on May morning some people used pull three ribs from the cow's tail and take clay from her hoofs and bring it home. Then that person would have butter from the cows she did this to and the person to whom the cows belonged would have none after churning.

-Michael Costello, Co. Mayo

Some women used get a twig of mountain ash and put it under the churn on May Day and so get all the butter from her neighbours churn, on condition that she said she wanted the butter from her neighbours churn while making her own.

-Mrs. Butler, Co. Mayo

While I don't condone butter theft, Bealtaine seems to be the right time to do it. Let's look at another way to celebrate!

The May Bush

On May day morning, children get a small haw-thorn bush or at least a branch of one on which there is haw-thorn in bloom. On this bush they tie all kinds of coloured ribbons, papers, tinsel or other decorations left after the Xmas decorations till it is a gorgeous sight.

-Collected by Joan Martin

While hawthorn is the traditional tree chosen for the May bush, it's important to remember that the Irish tradition states to never ever bring hawthorn indoors.

This quote's sort of a miscellaneous one, but I thought it was interesting.

On May Night long ago the people used to leave a cake and a jug of milk on the table because they thought the Irish who were buried in America and other countries used come home on that night and visit their own home. Another old custom was to leave the doors unlocked that night. They considered it unlucky to give butter or milk way to any person on May Day as they would be giving away their luck. No stables were to be cleaned out on that day. The first person to go to the well in the morning was supposed to have luck for the rest of the year. It is not right to give money to anyone on that day. But if you get money on that day you will be getting it for the year."

-Mrs. Joyce, Co. Mayo

Ah, can't forget the ancestors. Or the diaspora! ;)

An incredibly common tradition I saw while scrolling through dúchas (I really recommend you do it yourself! They have everything!) was that milk, coals, salt, money, or really anything isn't to be given away at Bealtaine, or you'll lose something for yourself. Something supernatural about Bealtaine surpasses the Irish tradition of hospitality. This to me really highlights a theme of abundance. Welp, that's all I have for now!

🌼☀️Beannachtaí na Bealtaine oraibh!☀️🌼

[juniper-divination-and-witchery]

Laethanta na Bó Riabhaí / The Days of the Brindled Cow

Photo of a cow with a brindle coat from uisneach.ie

The Days of the Brindled Cow is an Irish folktale that explains the often unpredictable weather at the turn of March into April. It's also sometimes called the riabhóg (meaning streaked, striped, or brindled) days or the borrowed/borrowing days.

From Duchas.ie

The "Borrowing Days" are the first three days of April. The weather during these three days is cold and often colder than March itself. On this account it is said that March has borrowed these three days from April to kill the Old Cow.

The old story says that when the Old Cow was let out to graze she kicked up her heels and ran through the field with joy because March was out.

But March borrowed three days from April and killed the Old Cow.

These three days are called thus, The "Borrowing Days".

Read more stories on the Duchas.ie archive

Listen to BlindBoy tell a version of this story

[ceo-draiochta]

Cursing with eggs in Irish folklore:

Egg to steal crops:

"One day he found in his turnip drills a boiled goose-egg. The superstition in connection with this is that the person who puts the egg in the crop will be able to steal the crop."

Source

"Certain families are believed to be able to take a great lot of the profit from a field of corn by planting eggs in each corner of the cornfield on May Day.

The people suspected of butter taking are suspected of working magic with the eggs."

Source

"Dheir sé soiléir annsan gur do phiseogaibh a bhí sé ag tagairt agus mhinigh se gur scaipeadh uibheacha go fóir leathan i ngairdínibh prátaí agus sna móinfheárachaibh comh maith, agus sna cocaibh agus sna giobólaibh féir,"

Source

"It happened one day about that time, however, that a stranger came into the place from a good distance away and spend some time about the district. From that day on the practice of planting eggs, pig's heads, slings (aborted calves) and the clearings of slinger cows, and other things too, in the soil of the gardens, and in the meadows and wynds of hay, as well as dumping the (?) articles in bags on farms, grew for years until it destroyed itself."

Source

It appears that the placing or burying of eggs on someones property or place of growth allowed a user to reduce and obtain the effected crops. This could have modern implications with wider ideas of crops. Eggs are not the sole material for this magic but they seem the most common. The use of this magic appears to have been a widespread issue at some point.