Ogham (Pronounced: OH-mm, spelled ‘Ogam’ in Old Irish) is an ancient Irish language, written in a series of simple line markings along a straight edge. The original alphabet is a set of 20 characters or feda, arranged in 4 groups of 5, called aicmí. In later manuscripts, 5 additional letters appear, called the forfeda.
The characters themselves are known collectively as Beth-luis-nin, after the first letters of the groups, similar to the way Greek Alpha and Beta gave us the ‘alphabet’. Each Ogham letter is associated with a plant or tree, and a particular sound, and represents a collection of ‘kennings’; keys to knowledge, called the Briatharogaim.
While the texts and tales frequently mention Ogham being carved on wood and bark – used for spells and to record genealogies – it is the 358 inscribed stones known to remain in Ireland which provide a more permanent record. These seem to have served as burial or commemoration stones, boundary markers, and even a legal record for who might hold title to the land on which they stand.
It is impossible to definitively date the language, as we have no certain fixed points in history, archaeology, or linguistics. Most will agree that the Ogham carved stone tradition dates at least back to the 300’s CE, coinciding with the coming of the Latin language to Ireland, through trade with Roman Britain and the scholarship of Christian monks. Whether this was the start of the script, or it has deeper Pagan roots, is a question that waits to be answered.
Ogham’s importance in a hero’s burial is immortalised in the Táin:
“Then Etarcomol’s grave was dug
And his headstone planted in the ground
His name was written in Ogam
And he was mourned.”
Ogam: Weaving Word Wisdom is a breakthrough in ogam divination and magical studies. Rather than working from the commonly known tree alphabet paradigm, Erynn Rowan Laurie takes us back to the roots of each letter’s name, exploring its meanings in the context of Gaelic language and culture. Like the Norse runes, each letter is associated with an object or a concept — “sulfur”, “a bar of metal”, “terror”. These letters are deeply enmeshed in a web of meaning both cultural and spiritual, lending power and weight to their symbolism. With two decades of experience with the ogam and over thirty years of working with divination, Erynn offers insights into the many profound meanings hidden in the ogam letters and their lore. She explains each letter in context and shows how to expand the system in new and innovative ways while acknowledging and maintaining respect for ogam’s traditional language and culture. In this book, you will find ways to use the ogam for divination, ideas on incorporating ogam into ritual, discussions of how ogam relates to Celtic Reconstructionist Paganism, and instructions for creating your own set of ogam feda or letters for your personal use.
This book is a creative exploration of the Ogam, based on a 17-year study by Irish author John-Paul Patton. The text explores the historical context of Ogam and the relationship between Ogam, poetry and the Gaelic harp. It contains a range of comparative studies between Ogam and the Kabbalah, Runes, I Ching and other systems. The text also presents original creations of an Ogam calendar, a divination system, and a reconstruction of Fidchell (the ancient Irish chess game) based on Ogam. The text further includes a system of Gaelic martial arts based on an elemental Ogam framework, magical Ogam squares, Ogam pentacles and much more, that fill this Tour de Force of contemporary Ogam study and use. The Poet’s Ogam carries on the Art and Science of the Filid-the Philosopher Poets who created and developed the Ogam and is a must for anyone with an interest in Celtic spirituality and magick. John-Paul Patton is generally recognised as a leading authority in Ireland of esoteric Ogam studies.
The subject of fairies in Celtic cultures is a complex one that seems to endlessly intrigue people. What exactly are fairies? What can they do? How can we interact with them? Answering these questions becomes even harder in a world that is disconnected from the traditional folklore and flooded with modern sources that are often vastly at odds with the older beliefs. This book aims to present readers with a straightforward guide to the older fairy beliefs, covering everything from Fairyland itself to details about the beings within it. The Otherworld is full of dangers and blessings, and this guidebook will help you navigate a safe course among the Good People.
Those who know me, know I’m no stranger to Daimler’s work.
Is it too early to start raving about this book? It might be too early to start raving about this book.
Inside you’ll see chapters on…
Each chapter is excellent, academic and in-depth but eminently readable; treated with Daimler’s usual deep passion for the topics, and a touch of soft humour here and there.
Ok, now I’m gonna rave about it. I LOVE THIS BOOK!
As a native ‘Celtic’ (Irish) priest of the Old Ways here in Ireland, I view all of Daimler’s work as an invaluable resource, and highly recommend anything that flows from that brain.
The world needs more people teaching everyone how not to get screwed by the Fair Folk 😉
(these are affiliate links, I’ll get a few cents if you shop through them, but it doesn’t cost you anything!)
There’s lots of stories with Táin in the title, but this article relates specifically to the best known of them – the Táin Bó Cuailnge, or ‘Cattle Raid of Cooley’.
Early Irish manuscripts are the oldest remaining extant literary source material in Europe, opening a fascinating window to the Medieval society in which they were written down, and the older tales and oral traditions which they record for us to enjoy today.
The Táin Bó Cuailnge, the ‘Cattle Raid of Cooley’, (often just called “the Táin” – pronounced TAWn – though there are actually a number of different Táin stories as we said) lies at the heart of Ireland’s epic storytelling legacy.
This is a great battle saga tale set around the 1st Century CE, in the middle of the Iron Age – told and re-told through the ages. The story survives in a couple of different versions, called ‘recensions’; there are 3 of these remaining to us today.
The Book of Leinster scribe may have thought the tale worth re-telling, or perhaps he was reluctant and had been ordered to just get on with it, as there are elements of the Táin that didn’t sit well with him at all. His note in the margins, written in formal Latin script, tells its own tale:
But I who have written this story, or rather this fable, give no credence to the various incidents related in it. For some things in it are the deceptions of demons, other poetic figments; some are probable, others improbable; while still others are intended for the delectation of foolish men.
For those of us who want to have a look through the text today, we don’t have to go digging through the library archives of ancient manuscripts (thankfully, those things are dusty as all hell). There’s many options available to us both (free) online, and in tree book format if you like the paper stuff.
This is the most accurate translation of the epic Irish tale, the Táin Bó Cuailnge, and includes the major remscéla or pre-tales which go a long way towards putting some of the madder stuff into a bit of context.
There’s still a lot of mad stuff in there, but sure it’s all good.
Starting at Rathcroghan, in County Roscommon, the story wends its way across the country to Cooley in County Louth. Featuring CúChulainn, Lugh, the Morrigan, Ferdia, Conor MacNessa, Fergus Mac Roich, and the notorious warrior Queen of Connacht, Medb (Maeve) – you won’t be short of an interesting character to keep track of.
I really like the artwork included in this version, by Louis le Brocquy; it captures well the tenuous nature of the meanings and symbolism that are woven into the fabric of this teaching tale.