After nineteen years of studying and taking part in various rituals for different types of occasions, I thought it was best to use a format that I created inspired by the Gaelic traditions that worked best for my families personal path. There are many modern ritual formats out there, from the simple solo ones to the complex ones using multi-participants containing subtle layers. Druid Orders like OBOD, and even AFD have nice things to offer, but they didnt fully flow for us. As we know Ritual from Sanskrit means, ‘to flow’, this idea of stepping into a current, having fluidity, movement, and being apart of a stream bed of inspiration was well founded to our Indo-European ancestors. I decided to take what I knew from the tradition I honor (The Gaelic one) and put a very basic format to it, allowing for various family roles to be utilized in its participation. It is in no way complete or a full comprehensive, but I would suggest is a good starting point for those that otherwise do not have access to this type of material. I feel to have ‘Druid only’ rituals insofar as members of the Druidic class to celebrate festivals is not only innaccurate but unproductive for how my family celebrates our path. Ritual was for the members of the community, the tribe, the family and extended family. It was as we may know the Druids role to over-see that ritual had no flaws, perhaps to keep the flow moving in context to the cultural norms. It is odd for me to see any modern ritual wherein the Druids are running the whole show, or doing it all themselves {Including any such members of the Druidic class; ie. Bards and or Ovates} Would we not have seen the rural community gather for rituals, where the Druid played but a role within them, leaving room for many other members of that community to participate? Regardless, this format is something I feel no one has really shared widely; that I know of at least.
I hope you enjoy it for what it is worth. It is though a format never the less, and happily, formats can be like a recipes. Any good cook knows about recipes, the basic elements/ingrediants, where to bend the rules, where to add creativity and your signature making it your own based on your personal taste. Though, certain ingredients must be present, steps followed, the right cook time, temperature, and agreed goal of what the end dish should be. I think of pasta, and how it can be made many ways, various noodle styles, sauces, vegetables, meats, herbs, spices, & add ons. On this, please find the following as my personal recipe. Enjoy it, tweak it, or make it your own, any way you may wish.
(For Semi-Formal group work)
Part One:
Tuath & Guests greeted and questioned at Gateway:
Cearnaigh: At Gate-(Question with Lugh at Tara format)
~After passing questions they cross over into sacred space through gateway. Each then greets the roof-tree (féige)and salutes (ardartha)Draoi and Bandroi or any Ri, or Ríoghain that might be present as guests. (Ardartha)- Salute only extremely high authority, fists to forehead.
Treibh Máthair: Guests ritually washed: (Níghe)- washing, ritually done. Not as cleansing, but as “crossing” into ritual space.
Tuath and Guests form a circle -Cuairt coimhgí – circle of safe-keepings.
Draoi: in the East: Welcomes guests and talks about the ritual taking place
Seanchaí: Poetic Introduction of any New-Commers.
Laoch: Offerings made to the Outsiders. (outside ritual area)- West or N.West
Wards put up by Draoi:
Fógairt proclamation; ward to compel, esp. expel
Builds the (Airbhe) an encircling “hedge” which protects those inside and may be crossed but with ill-effect on whom does so.
Dúnchur- closing of the entrance to a power site
Treibh Athair: Cleaning ritual space. Toitriú- using empowered smoke-mixtures.(Dried herbal smoke mixtures- similar to smudging)
Treibh Máthair: Cleansing with Water: Méarsmeachanna-”finger-flicking”used as warding (Dieseal)
Wards by BanDraoi:
Farc- ward to restrain, including to bar entrance.
Forchoiméad- ward to preserve, & maintain
Crios- ward to protect
Laoch: Lighting the (Tine chnámh) Bonfire. When possible use the *9 sacred woods, or the *3 woods of the Gael. Also no artificial means of ignition. (Fire is pre-built by 3 members of the tribe: Draoi, Brehon, Ollamh)
Píobaire: Sound the (Dord) Horn three times when fire is lit. Once in each direction: S.W.E.
All: Go raibh amhlaidh- so be it.
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Part Two:
Fáidh: Prayer – May our Ancestors and the ancestors of this place be released from their past deeds.
May the enchantment be lifted from the stones.
May the trees allow us the ability to see our connection to community.
May the energy once again flow freely here in accordance with divine will.
May the stars turn forever above us as they wheel in their paths through the great heights above.
May the veils be lifted and open a place to us here, in this place, in our time; Forever and always.
All: So be it: Go raibh amhlaidh, Bunchur!
BanDraoi: We are here to honor the traditions of our ancestors.
Draoi: Toghairm (summoning invocation) Déithe Ársa a bheith anseo le linn!
(Honor Directions in the following order: E.S.W.N. Center, Above and Below)
E. Ancient wind blowing from times beginning clear away our obstacles
S. Fire deep within ignite a passion inside us for forging this work
W. Water from the earth, water from the skys, water that has always been; Refresh, renew, rejuvenate and replenish us always
N. Soil- dark and rich, deep earth provide us a plentiful bounty in all we do.
BanDraoi: Center: A meeting place of the self, the spirit, and family found within our hearts and at our hearths, be always present.
Treibh Athair: Above- Sky father- Deiwos; allow us the inspiration, clarity, and freedom to be limitless in our creativity.
Treibh Máthair : Below- Earth mother- Dea Matrona; allow us the rest, comfort, security, and insight from the solitude of your caves.
~Honoring Ancestors & Tribal deities, Nature Spirits, Gods and Goddesses- offerings/gifts brought (pre-made)
Seanmháthair: Ancestors: Ancient ones of our people, be a link to us into that which is unseen.
Fáidh: Nature Spirits: Spirits of time and place we honor you in our work here today.
Draoi: Gods- Trí dée dána
~Dagda, Eochaidh Ollathair, Ruadh Rofhessa: All Father, Good God, Shining and Divine, You of great splendor. Red one of great knowledge: We pray you guard and guide us as we work for a greater good.
~Ogma, Grianainech, Cermait: You of the sunny face, of the honey mouth, and most eloquence. Great champion, we pray that you allow us your truth in on our tongues as we speak the words needed to help and heal throughout our work.
~Lugh, Lámhfada, Samildánach: Champion of Light, of the Long Arm, Master of Arts, Many skilled one, we pray that we too may become masters of ourselves to better serve others in need, that our arts become proficient and with Light may we radiate a goodness from ourselves as we shine with fire in our heads.
~offering
All: Guard and guide us in all that we do! (Garda agus sinn a threorú i ngach a dhéanaimid!)
BanDraoi: Goddesses-
~Danu, Dana, Anu: Great Mother or the flowing waters, You whom are fertile and abundant, We pray that through you we may all nature those who come into our lives.
~Brigit, Exalted one, Great fertile healer, Poetess and Smith, You of rejuvenation, spring hope, and maidenhood; We pray that through the secrets of your forge, that we too may be able to transform the elements in our lives, shaping them as gifts for the betterment of our communities.
~Cailleach, Feasam, Phiseogach, Wise one, Sorceress, Veiled one, Old woman, Grandmother, Storm Hag, Grandmother, through your wisdom allow us to embrace humanity with open arms. Be not frozen or cold to us, but welcoming and wise so that we too may be remembered as you to our people.
~offering
All: Guard and guide us in all that we do! (Garda agus sinn a threorú i ngach a dhéanaimid!)
Possible Other Offerings:
Meditation~ (Machnamh)- different type of meditation, contemplation.
Aes dána- Music- style depends on type of ritual.
Aes dána- Song/Poetry (Aircheadal)- set-piece poetry or chant used in every ritual.
Goltrai, strain of lament and weeping.
Geantrai, strain of merriment.
Suantrai, or sleep-strain, (light trance for next section of work to begin)
Poetry-Filíocht: i.e. a very specific type of verbal magic. Done by the following: Draoi, BanDraoi, Ollamh, Fiildh.
ALL: Weaving Spiral Dance – (Music Playing) Dance Deiseal around (Tine chnámh) bonfire.
~after dance
(During this section the Guests and Tribe may be seated and rest in quiet observance)
Spell work: Depends on the need of the Tribe, but not limited to the following. Done by any or all educated.
Mainly those focused on healing, ridding the unwanted, helping others, etc.
~Breachtraíocht – (general term) magic esp. folk-, herbal.
~Upthaireacht – folk magic
Draiocht-Magic: Depends on the need of the tribe, but not limited to the following. Only by Draoi and BanDraoi
Athmhothú-(act of switching) alternative states of consciousness at will
Fiodhrádh- “wooden utterance”, the druidic system of
divination by means of tree-letter-names.
Leapaidh Lánlaidhí-”harbourage of complete
attentions”; (esp. secure or powerful) mind-set (to do bríocht
or in meditation).
Bríochtaí- spells, largely or fully verbal.
Somhoill – suspension of bríocht in stasis to adjust details
requiring gabhlairdeall. Gabhlairdeall – “forked attention”, division of
consciousness, esp. during somhoill.
Ciútaí “extra decoration”, stylistic addition in bríocht with no bua itself
but used to help make it unique.
Roscanna – a druid rhetoric, i.e. magical
incantation; not a set formula but each use unique (or at
least slightly varied) extemporaneous utterance esp. incorporating
ilchiallú. Ilchiallú- (ilchiallú – pun, doubled entrendre, i.e. in bríocht a
“sea-horse” is valid as a “horse”.)
Foirteagal- binding by names or words of power.
Iompóchur- bríocht to reverse, reflect, “boomerang” ward.
Astaidhbhreacht-”reading” (in the clairvoyant sense of an object).
Aoir – bríocht satire, usually mallacht.
Cloch iompaithe – turning stone. used esp. for mallacht.
Mallachtaí – curses. Used to reflect and redirect ill will back to its originator.
Corrguineacht – “crane magic”, bríocht, esp. mallacht, on one
foot, one eye closed, one hand in belt.
Grinnthoil – lit. “lucid intent”; directed consciousness to
influence event, thing, or person, with or without communication
of data.
Iarrairdeall – lit. “solicitous attention”; blank-mind receptiveness.
Díonghabháil – “thatch-yoke”, tag at end of bríocht asking it
please the gods.
…etc
Treibh Máthair: Blessing of Bread and Mead (sung poetry)
(offerings and libations)
Passing the horn and plate- dieseal.
Fáidh and Baisleac: Trance-Támhnéal:Toinéal -immobile without outside originating vision. Use of Drumming, Drones, and Rattles. Or Léargas-insight, non- (or very light) trance vision, psychic sight.
Ollamh or Fáidh: Journey – No rattle, Drums only (changed beat)
Fáistine-Divination:
Draoi, BanDraoi, Ollamh, Fáidh and Baisleac:
Dreanaireacht – Divination by the flight of birds. (Crane, Raven, Wren) and or-Duck, Goose, Crow, Magpie, Heron, Hawk.
Néaladóireacht - divination by clouds
Crainnchaint- – communicating with live trees.
Crannchurársa- casting of lots, Ogham
Taircheadal – verbal prophesy
If needed:
Teinm Laida- (see notes below)
Iombhas forosna - ” ”
Dícheadal di Cheannaibh- ” ”
Breitheamh:-Brehon Law- Outstanding Contracts, Grievances, other Tribal Business.
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Part Three:
(Guests and Tribe rise from sitting)
Give thanks to Ancestors, Nature Spirits, Gods and Goddesses
Seanmháthair: Ancestors: Ancient ones of our people, we give thanks for your wisdom, without you we would not be here. Go raibh maith agat
Fáidh: Nature Spirits: Spirits of time and place, we give thanks for that which is unseen yet known by us through our feelings
Draoi: Gods, ancient and divine- through you we work and give as to become shinning ones ourselves.
BanDraoi: Goddesses, ancient and divine- through you we celebrate and share joy so that we might be remembered like you, as a memory to our people.
Final offerings – Móideacht: votive offering.
Píobaire- Sound Horn 3 times. Once at E.W.S.
Seanmháthair- Spread ashes of fire while saying prayer
Prayer:
SMALADH AN TEINE
A chumhnadh,
A chomhnadh,
A chomraig
An tula,
An taighe,
An teaghlaich,
An oidhche,
An nochd,
O! an oidhche,
An nochd,
Agus gach oidhche,
Gach aon oidhche.
SMOORING THE FIRE
To save,
To shield,
To surround
The hearth,
The house,
The household,
This eve,
This night,
Oh! this eve,
This night,
And every night,
Each single night.
Thank directions in reverse
Treibh Máthair -below: Earth Mother, Dea Matrona; thank you for your comfort, security, and insight during this work. We honor you.
Treibh Athair -above: Sky father- Deiwos; thank you for your inspiration, clarity, and limitlessness in our creativity. We honor you.
BanDraoi- center: From the center of this circle, to the center of our Tribe, within the center of each of us, may we always be at peace with eachother in our homes and abroad.
Draoi-
N. Abundant Earth you have fed us with your rich bounty, we thank you.
W. Waters of Life you have washed and quenched us with purity, we thank you.
S. Sacred Fire you have ignited a passion for truth in each of us, we thank you.
E. Winds of Time you have swept away the old and refreshed us with newness, we thank you.
BanDraoi: Departing blessing to Tuath and Guests: Beannú na déithe’s n’aindhéithe ort. Go gcumhdaí is dtreoraí na déithe thú.
Draoi: Neart inár lámha, fírinne ar ár dteanga, glaine inár gcroí. Is é an dóiteán a chomhlánú.
Depart ritual space.
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Part Four:
Celebration and Feasting (not in ritual space)
Seanmháthair / Treibh Máthair -Blessing of the meal
BanDraoi: Prayer and Thanks
Anyone: Toasts-Mead Circling -passing to the right- * Tuathal (Food also passed to the right)
Entertainment: Story- with musical accompaniment
Feis: Celebratory Music, Songs, Poetry, Dances
Games-Fidchell & Brandubh
Refreshment and Merriment
~END~
~Disclaimer: This is the format our family uses; It may not work for you, & it might be best for you to adjust this to better suit your own needs.
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NOTES:
I know there will be Celtic Reconstructionists and Traditionalists that will no doubt have but a few problems with our ritual. I can hear the comments now, such as what about this, or that? Or why are you using this or that within your ritual. The answer is: Ní hanasa, See my preface to the ritual about ‘what works for us’. After all we are honoring the past and yet celebrating in the now.
*The 3 sacred woods of Gaelic Mythology: Rowan, Hazel, Yew.
There seems to be many references to the 9 sacred woods, each a different version from the next.
* The 9 Sacred woods:
1. Birch 2. Oak 3. Rowan 4. Willow 5. Hawthorn 6. Hazel 7. Apple 8. Fir 9. Elder
“Nine woods in the Cauldron go,
Burn them fast and burn them slow.
Birch in the fire goes
To represent what the Lady knows.
Oak in the forest towers with might,
In the fire it brings the God’s insight.
Rowan is a tree of power,
Causing life and magic to flower.
Willows at the waterside stand
Ready to help us to the Summerland.
Hawthorn is burned to purify
And to draw faerie to your eye.
Hazel – the tree of wisdom and learning
Adds its strength to the bright fire burning.
White are the flowers of Apple tree
That brings us fruits of fertility.
Grapes grow upon the vine
Giving us both joy and wine.
Fir does mark the evergreen
To represent immortality seen.
Elder is the Lady’s tree
Burn it not or cursed you’ll be.
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Old Scottish poem
“Choose the Willow of the streams
Choose the Hazel of the rocks
Choose the Alder of the marshes
Choose the Birch of the waterfalls
Choose the Ash of the shade
Choose the Yew of resilience
Choose the Elm of the brae
Choose the Oak of the sun”
So what would #9 be then; Thorn, Apple, Rowan, Elder, Fir?
Mentioned Ritual Members:
Tuath-Tribe/Family and extended Family
Cearnaigh- Spearmen
Rí – Chieftain, like a King
Ríoghain- like a Queen
Treibh Máthair- Tribe Mother
Draoi- Druid
Seanachaí- Storyteller
Treibh Athair- Tribe Father
BanDraoi- Female Druid
Laoch- Warrior
Píobaire- Piper
Fáidh- Seer/Diviner/Wiseman
Baisleac – Wisewoman, female folk-wizard
Seanmháthair- Grandmother
Aes dána- The multi-skilled artisist/musicians. Poet class.
Ollamh- Dr. of Poetry, Professor, Highest rank of Poet.
Breitheamh- Judge, Law keeper.
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On Divination: There is much confusion even among scholars on agreeing to not only the etymology, accepted spelling of Imbas Forosnai, Teinm Laida & Dichetal di Cheannaibh, but mainly in the methodology from literature of how each of these were performed and used by the Draoi or should I say Filidh. Also to note, the three main types of divination are often confused with one another. Often we see a partial method from (A) lending itself to another (B) while claiming it to be as (A) when it is in fact parts of (A-B) combined, yet portrayed as (A). Not to mention the confusion that each could be done in combination with another or on its own; Worse even is that Teinm Laida and Dichetal di Cheannaibh have such similar applications, using similar techniques. One major problem that exists is the wall between the scholar and the mystic. We have many scholars ‘talking about’ these translations, yet we don’t hear from any mystics on their account of trying these methods, experimenting, or any detailed accounts of how one applies them in any traditional form. There should be work done in furthering the education and translation of these subjects found in literature, as well as in ‘felid work’; if you shall call it this for a deeper understanding of the process of how these are best used. These poetic forms of divination as we know them today appear to represent something in the nature of rubrics in the early texts. They are phrases extracted from various texts of spells or of mantic processes. I would suggest they are indeed from the metrical tractates, that they are treated as titles of distinctive poetical forms or meters, and not how we know them to be as single type or style of an individual means of practicum. Here then are my random notes of their classification. I hope it makes clear what so many works have kept obscure or incorrect!
Teinm Laida:
Illumiation of song, sometimes called Breaking the Marrow.
This may be a type of kenning for Chewing on the nuts of hazels, which is a legendary source of wisdom. Chewing the nut, not “breaking open the nut” which seems to be- a method described to Dichetal do Chendaibh
The confusion may be from Teinm Laida in its context of, “breaking open by poetry”. This was to recite or sing a song until arrival at answers, one must obtain a trance like state to obtain. This composing was done without thinking,
Teinm Laida was certain kind of poetry, and was done following a format, yet was also done without prior thought.
Some call this, chewing the thumb- burning thumb- burning song. Done while chanting. This is also confusing because as we will see with Imbas Forosnai, the association of the thumb or fingers in connection to inspiration and the mouth.
In Teinm Laida the Fili-poet understands and receives meaning from his sung-chanted poetry & gains inspiration to the posed question.
Fionn Mac Cumhail after a trance or sleeping in the house of sidhe mounds, is enabled to chant the teinm ladia
Fionn puts his thumb into his mouth and chants the teinm ladia to find out where Lomna’s severed head is.
Teinm Laida also uses a poets staff or poets wand.
In some stories Teinm Laida is a means of identifying a severed head.
It could be suggested that it might have once been a rite for the identification of dead persons.
Tenm is derived from the root word tep “which means heat”. In many old stories the severed head is placed beside the fire perhaps for the purpose of smoking and drying for preservation.
Could it be possible that in the early instances of Teinm Laida it was a chant of a severed head beside the fire at a feast? The connection to the head and Teinm Laida is also confusing because as we will see, Imbas Forosnai also shares this parallel.
Imbas Forosnai/Imbas forosna/Iombhas forosna:
Wisdom that illuminates, Manifestation that enlightens, Illumination of tradition.
A much disputed technique of trance using or gaining Imbas (inspiration-Illumination) with which to prophesize. This seems to be a form of sensory deprivation in order to enter into a trance and receive answers for prophecy.
(Nora Chadwck) ‘ translation-summerized’pg 47 celtic seers source book
The Filidh(Poet) chews a piece of red flesh of the pig, cat, or dog, and puts it then on a flagstone behind the door and chants an incantation over it. He offers it to his gods, and calls them to him, and leaves them not on the marrow, and then chants over his 2 palms and calls again to him his gods, that his sleep may not be disturbed. He then puts his 2 palms over his 2 cheeks and sleeps. (Men)? watch over him as he sleeps that he may not turn over and that no one disturbs him. Then it is reveald to him that for which he was engaged til the end of three days and nights.
What we see from Fionn Mac Cumhail stories: Uncooked or partially cooked food is present. It is the property of the sidhe, Fionns thumb or finger entering the sidhe mound, after a withdrawal placed in the mouth. Fionn puts his finger ( mer ) into his mouth was because of some of the liquid dripping off of the vessel that had been spilt on it. It’s not clear weather it was because he tasted sidhe liquid, or because his finger had been in the sidhe mound, or because his finger was grazed and ” raw(red flesh) ” made him place it in his mouth. This Imbas allowed Fionn to see what was invisible in physical vision which is deemed “second sight”, but it also allowed him to hear and understand the spirits of the sidhe mound.
These seem to be the basic concepts of this form: Chewing the flesh, Make invocations over power object, placed at threshold of dwelling, or behind the door “inside” (as an offering?) Chants again over the hands, calls spirits to aid, laid down in darkness covered eyes with fingers, palms on cheeks, (incubation) Is watched over, either guarded or watched over by spirits, awakening, answer achieved from darkness and brought to light, revealed by way of poetry.
Cormacs glossary
The poet chews mir but in the stories of Fionn its mer. Mir seems to mean a piece or morsel. There are many tales with severed heads that have the ability to speak, sing, and even chant and have the right to and at times remind the quests of their mir or portion. Perhaps an offering to the head is like an offering to the spirits or sidhe.
There is a phrase- At opair do deib idol -translation – take it to (from) the sidhe; In context of retrieving meat from the mound.
Within Cormacs glossary when the Poet eats(chews) the raw red flesh it could be implied that this is an unhallowed diet, of which would immediately put him in touch with his heathen spirits.
There are many tales of Fionn Mac Cumhail and others that mention: Imbas, heads, fingers or thumb in the mouth. Sidhe mounds, and water and fire. This illumination gained is often followed by Teinm Laida.
Dícheadal di Cheannaibh/Dichetal do Chendaib/Cetal do Chendaib/etc.
Extempore Incantation, Incantation on the bones of the fingers, Cracking open of nuts of wisdom
dícheadal – incantation
mantra-like incantation using munda-like repetitive motion (recital through finger ends?) which is unusual in allowably containing rudach.(Rudach)monotomy in a bríocht (verbal spell) or filíocht (verbal poetic spell) generally unacceptable in bríocht but allowable in dícheatal di cheannaibh.
‘cetal and dicetal translate to -chanting or incantation
There is mention of a cetal do chendaib which seems to be little different somehow than dicetal do chendaib. In this ‘cetal’ version from txts we know one version of its example is “The Song of Amhairghin”
Duan Amhairghine
Am gáeth tar na bhfarraige
Am tuile os chinn maighe
Am dord na daíthbhe
Am damh seacht mbeann
Am drúchtín rotuí ó ngréin
Am an fráich torc
Am seabhac a néad i n-aill
Am ard filidheachta
Am álaine bhláithibh
Am an t-eo fis
Cía an crann agus an theine ag tuitim faire
Cía an dhíamhairina cloch neamh shnaidhite
Am an ríáin gach uile choirceoige
Am an theine far gach uile chnoic
Am an scíath far gach uile chinn
Am an sleagh catha
Am nómá tonnag sírthintaghaív Am úagh gach uile dhóich dhíamaíní
Cía fios aige conara na gréine agus linn na éisce
Cía tionól na rinn aige, ceangladh na farraige,
cor i n-eagar na harda, na haibhne, na túatha.
Amergin’s Challenge
I am a wind across the sea
I am a flood across the plain
I am the roar of the tides
I am a stag* of seven (pair) tines
I am a dewdrop let fall by the sun
I am the fierceness of boars*
I am a hawk, my nest on a cliff
I am a height of poetry (magical skill)
I am the most beautiful among flowers
I am the salmon* of wisdom
Who (but I) is both the tree and the lightning strikes it
Who is the dark secret of the dolmen not yet hewn
I am the queen of every hive
I am the fire on every hill
I am the shield over every head
I am the spear of battle
I am the ninth* wave of eternal return
I am the grave of every vain hope
Who knows the path of the sun, the periods of the moon
Who gathers the divisions, enthralls the sea,
sets in order the mountains. the rivers, the peoples
Amhairghin, or Amergin as usually spelt in English, was one of the leaders of the “Men of Míl”, the first human arrivals in Ireland who battled the Tuatha Dé Danann or “gods” for posession of the island.
The piece here entitled Amergin’s Challenge certainly deserves to be one of the most famous of all Irish poems, for it is the first poem, according to legend, uttered by a mortal in Ireland, proclaimed by Amergin as he first set his foot on the beach. Unfortunately, the existing texts are all corrupt, greatly open to varied interpretation none of which agree among themselves! However, a basic core can be discerned – e.g. all copies mention such elements as wind, wave, stag, boar, etc and begin with statements of “I am” and go on to rhetorically ask “who (except I)?” The “poem” has sometime been claimed to be a pantheistic hymn but is in fact no such thing. It is clear from the context of the narrative that it is a self-proclamation by Amergin of superior port-hood and a challenge to the Tuatha Dé Danann. Given the extreme unreliability of the texts and the contention about them, in this one case the present author has taken a rather great liberty in his attempted to reconstruct it in a coherent form. This amounts to yet again another version but one which retains the elements and diction central to the rosc’s obvious intent. (Seán Ó Tuathail) http://www.imbas.org/articles/excellence_of_the_ancient_word.html
Other versions:
Earliest manuscript:
Lebar na Núachongbála (The Book of Leinster)
p. 49 in the diplomatic edition; from the CELT site
Ic tabairt a choisse dessi i nHerind asbert Amairgen Glúngel mac Miled in laídseo sís.
1. Am gáeth i mmuir. ar domni.
2. Am tond trethan i tír. 1550] {MS folio 12b 40}
3. Am fúaim mara.
4. Am dam secht ndírend.
5. Am séig i n-aill.
6. Am dér gréne.g
7. Am caín. 1555]
8. Am torc ar gail.
9. Am hé i llind.
10. Am loch i mmaig
11. Am briandai.
12. Am bri danae. 1560]
13. Am gai i fodb. feras feochtu.
14. Am dé delbas do chind codnu.
15. Coiche nod gleith clochur slébe. {MS folio 12b 45}
16. Cia on cotagair aesa éscai
17. Cia dú i llaig funiud grene. 1565]
18. Cia beir búar o thig Temrach.
19. Cia buar Tethrach. tibi.
20. Cia dain.
21. Cia dé delbas faebru. a ndind ailsiu.
22. Cáinté im gaí cainte gaithe. Am. 1570]
I can give two translations that are closest to the version in the Book of Leinster; the first is John Carey’s (which is the more accurate), and the second R.A.S. MacAllister’s (which isn’t as accurate, but was good for its time)
John Carey’s Translation
James Carey’s translation: from The Celtic Heroic Age (2003) (pg. 265)
As he set his right foot upon Ireland, Amairgen Glúngel son of Míl recited this poem:
I am a wind in the sea (for depth)
I am a sea-wave upon the land (for heaviness)
I am the sound of the sea (for fearsomeness)
I am a stag of seven combats (for strength)
I am a hawk upon a cliff (for agility)
I am a tear-drop of the sun (for purity)
I am fair (i.e. there is no plant fairer than I)
I am a boar for valour (for harshness)
I am a salmon in a pool (for swiftness)
I am a lake in a plain (for size)
I am the excellence of arts (for beauty)
I am a spear that wages battle with plunder.
I am a god who froms subjects for a ruler
Who explains the stones of the mountains?
Who invokes the ages of the moon?
Where lies the setting fo the sun?
Who bears cattle from the house of Tethra?
Who are the cattle of Tethra who laugh?
What man, what god forms weapons?
Indeed, then;
I invoked a satirist…
a satirist of wind.
This is the version we used for the show, although we dropped the medieval glosses and made a couple of small changes to make it easier to a listener to follow.
R.A.S. MacAllister’s translation from Lebor Gabala Erenn (Irish Texts Society, 1941)
I am Wind on Sea,
I am Ocean-wave,
I am Roar of Sea,
I am Bull of Seven Fights,
I am Vulture on Cliff,
I am Dewdrop,
I am Fairest of Flowers,
I am Boar for Boldness,
I am Salmon in Pool,
I am Lake on Plain,
I am a Mountain in a Man,
I am a Word of Skill,
I am the Point of a Weapon (that poureth forth combat),
I am God who fashioneth Fire for a Head.
Who smootheth the ruggedness of a mountain?
Who is He who announceth the ages of the Moon?
And who, the place where falleth the sunset?
Who calleth the cattle from the House of Tethys?
On whom do the cattle of Tethys smile?
Who is the troop, who the god who fashioneth edges
in a fortress of gangrene?
Enchantments about a spear? Enchantments of Wind
-MacAllister’s translation of séig as vulture, while possible, isn’t as likely as Carey’s eagle; same for dam, which MacAllister translates as ox, but Carey as deer. One reason I think Carey’s is better (other than being more accurate) is that the four animals are given as a deer, an eagle, a salmon, and a boar–which are the four animals that Tuan mac Cairill transforms into when he survives the flood and invasions to be the oldest man in Ireland (“The Story of Tuan mac Cairill”); the deer, eagle, and salmon are also three of the oldest animals in “Culhwch and Olwen”–in other words, I think they have some cosmological significance in Celtic mythology (eagle=sky, deer=land, salmon=sea, boar=otherworld). Eleanor Hull wrote an article in the 1940s about this.
One other note; in “The Wooing of Emer”, it’s explained that the cattle of Tethra refers to the fish in the sea.
Alternate Translations
Lebor Gabála Érenn: The Book of Invasions, §74.
I am Wind on Sea,
I am Ocean-wave,
I am Roar of Sea,
I am Bull of Seven Fights,
I am Vulture on Cliff,
I am Dewdrop,
I am Fairest of Flowers,
I am Boar for Boldness,
I am Salmon in Pool,
I am Lake on Plain,
I am a Mountain in a Man,
I am a Word of Skill,
I am the Point of a Weapon (that poureth forth combat),
I am God who fashioneth Fire for a Head.
Who smootheth the ruggedness of a mountain?
Who is He who announceth the ages of the Moon?
And who, the place where falleth the sunset?
Who calleth the cattle from the House of Tethys?
On whom do the cattle of Tethys smile?
Who is the troop, who the god who fashioneth edges
in a fortress of gangrene?
Enchantments about a spear? Enchantments of Wind?
Gods & Fighting Men, Lady Gregory, Part 1 Book 3
I am the wind on the sea;
I am the wave of the sea;
I am the bull of seven battles;
I am the eagle on the rock
I am a flash from the sun;
I am the most beautiful of plants;
I am a strong wild boar;
I am a salmon in the water;
I am a lake in the plain;
I am the word of knowledge;
Iam the head of the spear in battle;
I am the god that puts fire in the head;
Who spreads light in the gathering on the hills?
Who can tell the ages of the moon?
Who can tell the place where the sun rests?
Celtic Myth & Legend, Charles Squire, p.124
De Jubainville: Cycle Mythologique.
See also the Transactions of the Ossianic Society, Vol. V.
“I am the wind that blows upon the sea,”
sang Amergin;
“I am the ocean wave;
I am the murmur of the surges;
I am seven battalions;
I am a strong bull;
I am an eagle on a rock;
I am a ray of the sun;
I am the most beautiful of herbs;
I am a courageous wild boar;
I am a Salmon in the water;
I am a lake upon a plain;
I am a cunning artist;
I am a gigantic, sword-wielding champion;
I can shift my shape like a god.
In what direction shall we go?
Shall we hold our council in the valley or on the mountain-top?
Where shall we make our home?
What land is better than this island of the setting sun?
Where shall we walk to and fro in peace and safety?
Who can find you clear springs of water as I can?
Who can tell you the age of the moon but I?
Who can call the fish from the depths of the sea as I can?
Who can cause them to come near the shore as I can?
Who can change the shapes of the hills and headlands as I can?
I am a bard who is called upon by seafarers to prophesy. J
avelins shall be wielded to avenge our wrongs.
I prophesy victory.
I end my song by prophesying all other good things.
Celtic Myths & Legends, Chapter 3: Irish Invasion Myths
I am the Wind that blows over the sea,
I am the Wave of the Ocean;
I am the Murmur of the billows;
lam the Ox ofthe Seven Combats;
lam the Vulture upon the rock;
I am a Ray of the Sun;
I am the fairest of Plants;
I am a Wild Boar in valour;
I am a Salmon in the Water;
I am a Lake in the plain;
lam the Craft of the artificer;
I am a Word of Science;
I am the Spear-point that gives battle;
I am the god that creates in the head of man the fire of thought.
Who is it that enlightens the assembly upon the mountain, if not I?
Who telleth the ages of the moon, if not I?
Who showeth the place where the sun goes to rest, if not I?”
Robert Graves, Faber, p.13
I am a stag: of seven tines,
I am a flood: across a plain,
I am a wind: on a deep lake,
I am a tear: the Sun lets fall,
I am a hawk: above the cliff,
I am a thorn: beneath the nail,
I am a wonder: among flowers,
I am a wizard: who but I
Sets the cool head aflame with smoke?
I am a spear: that roars for blood,
I am a salmon: in a pool,
I am a lure: from paradise,
I am a hill: where poets walk,
I am a boar: ruthless and red,
I am a breaker: threatening doom,
I am a tide: that drags to death,
I am an infant: who but I
Peeps from the unhewn dolmen, arch?
I am the womb: of every holt,
I am the blaze: on every hill,
I am the queen: of every hive,
I am the shield: for every head,
I am the tomb: of every hope.
MSN Group
I am a stag of seven tines,
I am a wide flood on a plain,
I am a wind on the deep waters,
I am a shining tear of the sun,
I am a hawk on a cliff,
I am fair among the flowers,
I am a god who sets the head afire with smoke,
I am a battle-waging spear,
I am a salmon in the pool,
I am a hill of poetry,
I am a ruthless boar,
I am a threatening noise of the sea,
I am a wave of the sea,
Who but I knows the secrets of the unhewn dolmen?
I am a stag of seven tines,
I am a flood across a plain,
I am a wind on a deep lake,
I am a tear the Sun lets fall,
I am a hawk above the cliff,
I am a thorn beneath the nail,
I am a wizard who but I Sets the cool head aflame with smoke?
I am a spear that roars for blood,
I am a salmon in a pool,
I am a lure from paradise,
I am a hill where poets walk,
I am a boar ruthless and red,
I am a breaker threatening doom,
I am a tide that drags to death,
I am an infant who but I Peeps from the unhewn dolman arch?
Enya’s La Soñadora
I am the wind that blows across the sea;
I am the wave of the deep;
I am the roar of the ocean;
I am the stag of seven battles;
I am the hawk on the cliff;
I am a ray of sunlight;
I am the greenest of plants;
I am a wild boar;
I am a salmon in the river;
I am a lake on the plain;
I am the word of knowledge;
I am the point of a spear;
I am the lure beyond the ends of the earth;
I can shift my shape like a god.
I am a stag of seven tines,
I am a wide flood on a plain,
I am a wind on the deep waters,
I am a shining tear of the sun,
I am a hawk on a cliff,
I am fair among flowers,
I am a god who sets the head afire with smoke.
I am a battle waging spear,
I am a salmon in the pool,
I am a hill of poetry,
I am a ruthless boar,
I am a threatening noise of the sea,
I am a wave of the sea,
Who but I knows the secrets of the unhewn dolmen?
This art was said to be learned 12th year of training, and yet it is mentioned that dichetal di cheannaibh was taught in the 8th year, so are we to assume that these were different forms, I think so.
dichetal di cheannaibh it seems was also a recital through finger ends. Possibly some form of ogham on the hands using it as a nemonic device for composing this form?
We see it is an “Incantation on the bones of the fingers”
-Extempore incantation, an incantation on the bones of the fingers, a Cracking open of nuts of wisdom. Where in Teinm Laida it was to “chew upon” the nuts of wisdom.
Some say because of touch, and the fingers involved with this art form, that this method uses the wand or poets staff. Though the earliest txts seem to agree that it was Teinm Laida that used these Magical tools. Perhaps they both do?
Since there remains a large debate over which method made use of the poets staff and wand we can clearly see that both Teinm Laida and Dichetal do Chendaib used use of the fingers. Imbas with its palms on cheeks and fingers over the eyes; It interesting fact in irish the whirls on the end of your fingers are called suil meire, meaning the eyes of the fingers- a ‘seeing with the fingers’.
Because of names like, ‘chanting by means of hazels of prophesy’, with the concepts of chanting-hazel-prophesy, it is easy to confuse this form with Teinm Laida and even Imbas Forosnai for that matter.This poetic form was a way to chant in prophetic strains, just as was done in the other methods mentioned, hence the constant confusion.
Though one major thing to mention is that this method was allowed to remain ‘in the order of art’ for the Filidh by St. Patrick; as it did not lend itself to making offerings to ‘heathen spirits’ as did Teinm Laida and Imbas Forosnai.
In this song Amairgen subsumes everything into his own being with a philosophic outlook that parallels the declaration of Krishna in the Hindu Bhagavad-Gita.” It also is quite similar in style and content to the more ancient Sri Rudra chant of the Yajur Veda.
Aisneis di chennaib a chnaime /aisneis dichennaib a chname The 4th method which remains very obscure is survives as a type of Christian hymn of sorts; most likely it was transformed from a poetic-spell to a hymn, and then allowed like Dichetal do Chendaib to survive as one of the poetic forms of the Filidh.
Cuill Crimaind – ‘nuts of wisdom’ are mentioned in many of the tales concerning Imbas forosnai dealing with Fionn MacCumhail which lead to confusion when in comparison to dichetal di chennaib in its ‘cracking open of nuts’. It is accepted that once Imbas Forosnai has been achieved teinm laida and dichetal di chennaib were then used. Also too, this cracking open of nuts like in so many things Celtic alludes to much deeper symbolism with added double meanings. A multi-layerd definition for only those steeped in and proficient with the education and lore may be able to decipher.
One thought on Cracking open of the nuts (hazel) to obtain their wisdom to then chew upon, could allude to the following: A question with an answer greatly desired is asked, hoping insight into the hidden is gained. Inspiration achieved, the cracking open by a certain style of sung poetic spell is used. Thus chewing on the nuts is perhaps leading us to another form of divination? and even a further style of poetry spell also sung. After all we know through modern culture, one thing can mean things; as we see this within Gaelic culture.
Questions such as: Is it the Hazel which is a tree of wisdom, or its nuts; is it the Salmon who eats the nuts and Fionn who eats the salmon who ate them part of a symbolic ritualistic process? What if Fionn had ate just the hazel nuts? Perhaps it is something like this: (With reference of Fionn Mac Cumhail) From skin to the flesh, flesh to bone, bone to marrow, marrow to the juice… Would not the applications of Imbas lead to Teinm Laida, and further on. Ongoing meditative insight needs to be considered here, perhaps while chewing on some hazel nuts?
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Filidh training curriculum
Ranks of Poets (Filidh):
~Year 1 Ollair (principal beginner) Rank: Bronze branch. Requirements: Grammar, 20 stories, Ogham study
~Years 2-5 Tamh (poets attendant) and Drisac (Apprentice Satirist) Requirements: 10 additional stories each year, philosophy, poems, dipthongal combinations, law of privileges
~Year 6 Cli (Pillar) Requirements: 48 additional stories. 20 poems
~Year 7-9 Anruth (Noble Stream) Rank: Silver branch. Requirements: 95 additional stories, prosody, gosses, prophetic invocation, the styles of poetic composition, specific poetic forms, and the place-name stories of Ireland
~Year 10 Ollamh (Doctor of Poetry) Poetic forms and http://www.imbas.org/articles/excellence_of_the_ancient_word.html
~Year 11 Requirements: 100 poems
~Year 12 Rank: Gold Branch. Requirements: 120 orations and the four arts of poetry
Filidh- For a very basic insight on the Seer-Poets:
http://en.wikipedia.org/wiki/Fili
An excellent link on Druidic Rhetoric:
http://www.imbas.org/articles/excellence_of_the_ancient_word.html
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Terminology:
Beannú na déithe’s n’aindhéithe ort – “The blessings of the
gods and the non-gods upon you”.
amhlaidh – thus, used as “go raibh amhlaidh”, “so be it”,
but not as a wish for something to occur but that the
requirements have already been met and said conditions should
continue as they are now (as mallacht it means “may you be
stuck with this forever”).
go gcumhdaí is dtreoraí na déithe thú – “May the gods guard
and guide you”.
Neart inár lámha, fírinne ar ár dteanga, glaine inár gcroí. -
“strength in our arms, truth on our tongue, clarity in our
heart”, definition of fianna honour (several minor variants exist).
* Tuathal – 1) pagan (the native Irish term, several other
Latin loan words are in modern usage); 2)*** counter-clockwise, to
bind, return to sourse, secure, close, invoke inward (cf deiseal);
modernly under christianity the word means “wrong way”. It is suggested that when the Celts feasted, items were passed to the right.
Déithe Ársa a bheith anseo le linn! Ancient gods be here with us!
Garda agus sinn a threorú i ngach a dhéanaimid! – guard and guide us in all we do!
Is é an dóiteán a chomhlánú. This ritual is complete
