Little Energy - a Haiku

FRIDAY, AUGUST 31, 2007

Little energy

 

Tranquil Mountain

 

A wasp humming melodies

 

Sudden tsunami

All Rights Reserved - David John Drew - 2007

Sijo poetry form: Dancing with Sounds

FRIDAY, AUGUST 31, 2007

 

Sijo poetry form: Dancing with Sounds

 

Hand swinging beat, striking a skin drum: repeating fragments of sound...

 

Pounding, kneading, forming the air into perfectly round bubbles...

 

All-enclosing, enchanting energy, carried on one constant breath.

The Owl: Celtic Myth and Legend

 

THURSDAY, AUGUST 30, 2007

 

The Owl… Celtic Myth and Legend:

 

"'S co-aoise mise do'n daraig,Bha nafhallain ann sa choinnicli, 'S ioma linn a chuir ini romham,'S gur mi comhachag bhochd na sroine."

 

(Ancient-ness upon me is that of the oak . . . whose mossy roots spread wide: many a race have I seen come and go: and still I am the lonely Owl of Srona.) – Donald Finlay, 1590.

 

The lonely owl that drifts through the night of our dreams in the Celtic tradition is the totem bird of the crone Goddess, and it bears her name; Cailleach oidhche (pron: Kayl-uck oheeche). As such it symbolizes the powers of darkness, hidden wisdom, detachment, metamorphosis. The owl is a hunter, dwelling in the shades of moon-light, perceptive, silent and swift. Throughout many cultures it is feared for its connection to death, its haunting voice is reminiscent of the lament of mourning. To encounter an owl at midnight might be a prophecy of loss or bereavement, but certainly she are a reminder of life, age and the eventual scythe of time… the harvester of souls.

Others connect the owl, particularly the snowy or Cailleach Bhan (pron Kayl-uck ban) or ‘the Auld white wife’ with storms, thunder, lightening, hero’s and love maidens. On the Island of Arran she was believed to be the herald of both the morning star or Reul na Maidne and the evening star or Reul na Fheagair; opening the gates of life and light, and later closing the curtains of the day with patience and serenity.

 

Whatever the belief, it is certainly a mystical experience to be walking out at night and feel the soft, silent flutter of an owl flying above our head… an almost imperceptible rush of power like muted lightening, and then gone… into the velvet mist of darkness, like a whispered prayer in the wind.

 

The Colorado Raptor Education Foundation was created in 1980 to promote environmental literacy, preserve injured or un-releasable raptors (hawks, eagles, falcons, owls), increase nature awareness and promote respect for wildlife. They actively train, educate and hold regular programs and seminars around their conservational efforts:

 

http://www.usaref.org/

 

 

ALL RIGHTS RESERVED - DAVID JOHN DREW - 2007

9/11: Is the Universe Friendly?

9/11: Is the Universe Friendly?

 

TUESDAY, SEPTEMBER 11, 2007

 

Thoughts on the Ocean of Life, in constant revision according to experience:

 

I believe in synchronicity... that formulation by the psychologist Carl Jung in which differing facets of a greater reality come together (perhaps in what seems like a conspiracy) and present us with a rare insight or revelation.

 

Yesterday a friend in Australia passed me a message that his wife had suffered a miscarriage: an immense misfortune that greatly affects our view of life. This happened to me and my wife 15 years ago... we had a son who we called Samuel. We were fortunate in being able to go through a process of grieving, assessing life and death and to bury the small and delicate spark... to rest. The brief life of a departed child is one of the most difficult for any parent to experience, but important to realize that nothing is manifested in the circle of life without reason… however short the span of time a person spends with us is significant and ultimately gives us a greater and more sacred appreciation for existence.

 

And then today I realized that it was the anniversary of 9/11 and the horrific events that occurred in New York at the Twin Towers. This is another aspect of life in the universe that demands our attention and certain contemplation... maybe a representation of chaos. Events such as these can completely alter our view of the world, other cultures and the humanity in ourselves. My thoughts today are with General Petraeus in Iraq (the outcome of 9/11) who is commissioned with the seemingly immense and difficult task of finding a solution to all this madness!

 

When our lives are surrounded by traumatic despair, the horrors of war, personal loss, and fractured systems of morality how can we believe in divine justice… if a God or divine power actually exists beyond our sphere of life how can it allow such events to take place let alone permit their continuance… making way for the wanton destruction of life and peace? In my investigations and experience I saw something greater than a notion of God… a powerful and vibrant presence throughout the Cosmic order.

 

In contemplating the 'friendliness' of the universe, and this ‘Cosmic Order I discovered that I had to go beyond phenomenal, definable characteristics. I saw an ocean of vast powers and energies of which we ourselves are a reflection... indeed an embodiment, flowing, singing, birthing and dieing... an ocean with great waves in ebb and flow constantly. And I think that it is important to consider that we are all connected to this 'Great Song' that is the universe. We cause our own futile pain and anguish by distancing and distinguishing ourselves; the creation of barriers and ultimately a dualistic pattern of thought.

 

In conclusion, for me it is not a matter of whether the Universe is friendly or peaceful, orderly or chaotic, angry or complacent; it is more about accepting the beauty within ourselves in relation to everything else that exists... all of one, existence as a whole monumental thought. I have been working today on a prayer, based on some thoughts of R. Tagore, but humbly molding them to reflect my perspective:

 

"Let us not pray to be sheltered from the storms of life...

But to possess courage in navigating through them without fear,

 

Let us not pursue a relief from painful events and personal

anguish...

But the heart to face and conquer them with sacred purpose,

 

Let us not seek blind guidance without foundations in troubled

times...

But the strength of character and a strong stride to resolve our

difficulties,

 

Let us not crave in anxious fear for a resolution of dreams...

But hope for patience to win an infinite peace."

 

This moment I believe in the sacred energy within the core of my being... this moment I believe that this energy can flow from my body in endless rhythms of harmony and healing... this moment in complete breath with all the spirits of life.

Many Blessings to All

ALL RIGHTS RESERVED - DAVID JOHN DREW - 2007

The Butterfly Effect

WEDNESDAY, JULY 11, 2007

 

The Butterfly Effect

 

May the wings of the butterfly kiss the sun, And find your shoulder to light on,

To bring you luck, happiness and riches, Today, tomorrow and beyond.

 

~Irish Blessing

 

In the Irish folk tradition the butterfly or ‘an Féileacán’ is the spirit of a departed person who returns to visit their favorite place; in the 1814 Parochial survey of Ireland an old Granny was heard to say to a youngster chasing and attempting to catch a butterfly "How do you know it is not the soul of your grandfather” It is a common belief that the souls of the dead return as all manner of animals, and insects. Even up to the 1600’s it was against common law in Ireland to kill a white butterfly because they were believed to contain the souls of dead children. In the Irish myth ‘The Wooing of Etain’ (Tochmarc Étaín) the heroine is turned into a butterfly by a jealous rival:

 

“Conaire Mór was a descendant of Etain, the most beautiful woman in the world. Etain was a Danann and the second wife of Midir, son of Dagda. Midir's first wife Fuamnach, became jealous of Etain's beauty and grace, and using a hazel wand turned Etain into a butterfly, and drove her away from the magic palace with gusty wind. The wind blew the butterfly to many parts of Ireland, until she arrived in Ulster. Here, the butterfly fell in the cup of Etar's wife. Etar's wife drank her cup and unknowingly swallowed the butterfly, where she later became pregnant with Etain. When Etain was born, she became mortal, without any memory of her former life as a Danann…”

 

In Scottish Gaelic the butterfly is known as Dealan De or ‘The Fire of God’ and meaning the flame, light or gold of the divine, or the ‘brightness’ of the Gods. The Gold-fly was indeed considered a sacred sign from the heavens, and if seen fluttering near the corpse of a recently deceased person it was regarded as a good omen, that the individual was on their way to celestial bliss. Another reference to this is the ‘tiene-dhe' which describes a stick of fire (referring to both the butterfly and the flame) which is used to light all manner of sacred community ritual fires, the hearth, and as a guide to the recently departed… using the lighted stick to usher them out of the house through the window to the sky.

 

Other aspects of Gaelic belief in combination with observations of the butterfly as a human soul are its symbolism as the power of transformation, inspiration and creativity, and eventual rebirth. It is thus used in an iconic manner in rituals surrounding conception, labor, birth and nurturing children.

 

For the most part the butterfly is seen in a positive light within Celtic culture. Like many societies throughout the world it is revered for its capacity in metamorphosis; echoing beliefs in reincarnation and the transmigration of the soul. Perhaps the one singular exception to this is an old Scottish belief that red butterflies are the souls of witches seeking general mischief.

 

All Rights Reserved DAVID JOHN DREW 2007

Man is a Shepherd of Being

Man is a Shepherd of Being

THURSDAY, JUNE 21, 2007

 

Non in depravatis, sed in his quae bene secundum naturam se habent, considerandum est quid sit naturele(We should consider what is natural, not in things of a perverted nature, but in those that are rightly ordered according to nature.) Aristotle, Politics 2:2.

 

The body, mind and soul are all interconnected in the Gaelic tradition. Within this is the belief that the soul is wrapped around the body, like a garment of finely woven cloth. The body inhabitats the soul. The body is the rich composite inheritance of the ages of existence, a fragrant and cavernous monastery (mainistir) for contemplation, journeying, living (aistir) and more than anything the dream (aisling) of the soul. The soul emerges from an ever-bubbling spring (tobhair na beatha) or the well of life, and unfolds into this life like a butterfly emerging from a cocoon. The soul seeks discovery, intimacy, creativity, and imagination. As a pure force of life it is enriched by balance and harmony, by attending to fruitful relationships at the right time and in the correct context… it blossoms with the fragrance of wild honey in summer. The purity of the soul is intensified with contemplation and prayer, it grows by hospitality, it is gilded by charity and generosity, and it rises to the heavens on the winds of truth and honest labor. More than anything, the soul belongs to the body, the earth, the flesh… the most sacred ground, the greatest inheritance of the ancestors, the lyrical memory of distant ages, the firelit dance of creation, and the final descent into the womb of the Mother… awaiting for a new dawn of life.

 

Often we are nourished by the simple earthly fruits, of bread, meat and water… but whose symbolism extends our dream of life beyond the borders of imagination, and lead us to an eternal vision in which we can dwell.

 

A blessing of solitude.

 

John O’Donahue ‘Anam Cara’

 

May you recognize in your life the presence, power, and light of your soul.

 

May you realize that you are never alone, that your soul in its brightness and belonging connects you intimately with the rhythm of the universe.

 

May you have respect for your own individuality and difference.

 

May you realize that the shape of your soul is unique, that you have a special destiny here, that behind the façade of your life there is something beautiful, good and eternal happening.

 

May you learn to see yourself with the same delight, pride, and expectation with which God sees you in every moment.

 

All Rights Reserved DAVID JOHN DREW 2007

The Tradition and History of the Irish Poet

SATURDAY, JUNE 16, 2007 

The Tradition and History of the Irish Poet

 

Tréde neimthigedar filid: immas forosna, teinm laeda, dichetal di chennaib. Three things that constitute a poet: 'knowledge that illumines,' 'Illuminating song’ and Divination by touch.’

 

The most enduring manifestation of the Druid, particularly in Ireland is that of the Filidh or Poet. Poetry, verse, chanting, hymns, satire, and other forms of vocal expression were the principle means of oracular expression for the learned Druid. According to the ancient Gaelic Brehon laws the requirements of a Filidh were; ‘purity of hand, bright without wounding, purity of mouth, without poisonous satire, purity of learning, without reproach, purity of vows.’ According to the Crith Gabhlach (another legal treatise) the difference between a Bard and a Filidh, was that the Bard is one without lawful learning but his own intellect (bard dano: fer gin dligid foglama acht inntlicht fadesin). The Poet and his/her art was therefore officially recognized in law as a trained, professional and respectable occupation. One could not label oneself as a poet without passing several stages of intense education and exams, monitored by a professor. According to the Auricept na n’Eces (The Scholars Primer) and the Uraicecht Na Riar (The Poetic Grades in Early Irish Law) the specific stages of development were, (with Ollamh (professor) being the highest):

 

Taman, Drisuic and Oblaire.

Fochloc.

Macfuirmid.

Dos.

Cano.

Cli.

Anruith.

Ollamh.

 

The Irish term fili or filidh is derived from faith whose original meaning was a ‘seer’ or ‘prophet.’ They existed throughout history as a powerful and influential group of visionary artists, maintaining Pagan rites, practicing divination and prophecy, as well as being historians, genealogists, preservers of wisdom and culture, satirists and teachers. Many Filidh were accomplished in several arts, and frequently practiced a craft such as metal-working, also law (Brehon), medicine, as well as composing verse. The curriculum of the Filidh lasted 12 years, in which Ogham (alphabets of understanding), tales, composition, philosophy and other standard learning requirements were met. Using a template created by Eugene O’Curry in Manners and Customs of the Ancient Irish, we can chart the progress of a student from the beginnings to the award of Ollamh:

 

Year One: The Oblaire (Elementary student). The study of 50 oghams, basic grammer, 1-20 tales.

 

Year Two: Fochloc-Macfuirmid (Word-maker to fermenting student). 50 oghams, six easy lessons in natural philosophy (six meters called Dians: air-sheang, midh-sheang, iar-sheang, air-throm, midh-throm, air-throm.) specific and introductory poems, 20 – 30 tales (dreachts). Grammer called Uraicept na n-eigsine, part of that book called reimeanna (courses?).

 

Year Three: Macfuirmid (continued). 50 oghams, six minor lessons in moral philosophy, certain specified poems, advanced grammer, 40 poems or tales.

 

Year Four: Macfuirmid – Dos. The Bretha Nemed or Law of Privileges, 20 eman or poems with couplets sharing form and meaning (or ‘births’), 50 tales.

 

Year Five. Dos – Cano. Grammer, 60 tales.

 

Year Six: Cano. The secret language of the poets, 40 poems of the species called nuath or ‘twins’ which may be elegies in the form of couplets, 70 – 80 tales.

 

Year Seven: Cano – Cli (journeyman). Brosnacha or miscellanies, the laws of Bardism.

 

Year Eight: Cli. Prosody, dindshenchus (glosses, the meaning and origin of obscure terms and words), Teinm Laegda (illumination of song), Imbas forosnai (illumination of knowledge), Dichetal do Chennaib (Extempore incantation).

 

Year Nine: Cli. Sennet or poems of ancient wisdom, lusca or chants of swinging and rhythmic oscillation, nena or truth-saying, eochraid or warding and shielding (keys), briocht or spells, sruith or veneration and calling of the ancestors (streams), duili feda or wisdom tales (mastery of the elements). To master 175 tales to this and the next two years.

 

Year Ten: Cli. A further number of the compositions from year nine (part of 175 tales).

 

Year Eleven: Cli – Anruth (master/warrior). 100 composition of Anamain or the use of breath in magical toning.

 

Year Twelve: Anruth - Ollamh. 120 cetals or religious chants/orations, the four arts of poetry, 175 anruth or glorious victories. During this year and the two previous, to memorize and master the 175 tales together with the 175 anruth. This completes the 350 tales learned by heart.

 

The Ollamh’s had their colleges at Clogher, Armagh, Lismore and Tamar, all situated on notable rivers, and later taken over by Christian clergy in the 5th century for seminaries. The process of education within this system appears to have observed ‘seven degrees of wisdom’ which may reflect several key examinations which were required before progressing to the next stage. In this respect it may have resembled the ancient Greek and Latin Trivium and Quadrivium, the lower division consisting of grammar, rhetoric and logic, with the upper concentrating on arithmetic, geometry, astronomy and harmony (music). The practice of chanting appears to have been a primary method of learning, an ecclesiastical observer in 1571 (Edmund Campion) tells us that Irish students sang out their lessons piecemeal using a technique called ‘cronan’ or crooning. Other notable refrains perhaps practiced may have been the caoine or death lament and the fonn or mantra of repetition.

 

The Prima – Scela or Primary tales outlined in the ‘Book of Leinster’ which the Filidh learned included: Aideda (death and violent tales), Aitheda (elopements), Baile (frenzies and visions), Cuthanna (battles), Comperta (conceptions and beginnings), Echtrai (otherworldly journeys and adventures), Fess (feasts), Fis (visions or dreams), Forbasa (sieges), Immrama (sea voyages), Longes (exiles), Oircne (murderings and ravagings, Serca (loves), Sluagada (hostings and military expeditions), Tana (cattle raids), Tochmarca (wooings and courtings), Tochomluda (setting forths and advancings), Togla (attacks and destructions), Tomadmann (bursting forth of lakes and rivers), Uatha (horrors and terrors).

 

However, these tales were memorized in two separate groups; being the primary myths and the secondary stories. The first group were the Irruptions, visions, loves, expeditions and invasions. The second group were the destructions, cattle-raids, courtships, battles, feasts, adventures, elopements, and slaughters. It appears that the first group of tales were widely available to all the filidh, whilst the latter was only kept for the cano, cli, anruth and ollamh.

 

By contrast the bard only studied for approximately seven years, or the first part of the curriculum and rarely advancing to the more esoteric techniques of the file. It was thus that a bard was considered inferior, such that whilst a File could expect the payment of three milking cows for his services, a Bard may only get one calf. Bards (or bairds) were divided into two classes; the Saor and the Daor or the Patrician and the Plebian. The Saor where known as the Sruth di aill or Stream down two cliffs, the Tighearna bhard or Lord-bard, the Admhall, Tuath-bhard or lay bard, the Bo-bhard or Cow-bard, and the Bard dine. The highest ranking of the Daor bards was the Cul-bhard or Back-bard, followed by the Sruth bhard or Stream-bard, in rank going down came the Drisiuc, Cromluatha, the Sirti-ui, Rindhaigh, Long-bhard and Bhard-loirrge.

 

Draoicht na Filidh: The Mystical Path.

 

The study, pursuit and practice of magic, visionary work, and mysticism may also have been restricted to the upper echelons of the Irish Druid network. Druids at this level were considered by Brehon law to be classified as being nemed or within the sacred. Within this they may have performed a role as priest, spiritual councilor, advisor, and enacted rites of sacrifice, offerings to the gods, public and private rituals, and maintained the social and communal festivals. As spiritual guardians and representatives of the divine forces they practiced draoicht or ‘the way of wisdom’ and what we would call today ‘magic.’ What was that? Sean O’Tuathal and Searles O’Dubhain have constructed an Oghamic list of Druidic magical skills:

 

Briocht a fully verbal spell or charm used for general protection, but also employed in battles and conflicts. Leapaidh lanlaidhi ‘harborage of complete attentions.’ This is a type of sanctuary wherein a well-focused intention could be invoked in preparation for divination or briocht work. Faistine or ‘divination.’ A term derived from ‘faith’ meaning prophet or seer. It implies soothsaying or use of the second (inner) sight. Suilacht or ‘magical insight.’ A feeling of being magically influenced, possession of a ‘magic eye.’ Nealadoireacht or cloud divination. This may have included all forms of divination, prophecy and power work involved from astronomy, astrology, weather, the elements of air and wind… indicating key strengths above. Huideacht or traveling through life and/or death. Applied to vision journeys that go beyond earthly boundaries, across perceptions of time and space through trance. Dicheadal or incantation. Diechetal do Chennaib or incantation of the fingertips, the science of understanding hidden causes through physical touch, taking the pulse. Tamhneal or ‘trance.’ Anything connected with a loss of physical consciousness and dreamwork; stupor, fainting, blackouts, epilepsy… mind storms and moods, remembrance of effects within that state. Corriguineacht or ‘crane magic.’ A type of briocht, mallacht or directly deadly, pronounced on one foot, one eye closed with the left hand in one’s belt or pocket. Used by Lugh as a technique in the battle against the Fomoragh. Associated with edges, boundaries, liminal space – between energies. The poetical meter used in a killing invocation was 7(3)a, 7(2)b, 7(3)a, 7(3)b. The Crane magician may also have possessed a ‘bag’ of religio-magical tools. Cumhacht power, authority and influence. A term used to describe the power or influence exerted by a greater force in or around it. The power of words, sounds, names arranged in such a rhythm within a poem or incantation to affect the shape of reality. Millteoracht or ‘magical attack.’ A term used in place of destruction, ruining and perversion. A poetic technique placed within the structure of a poem to denigrate or destroy the power of the subject. Gabhlairdeall or ‘forked attention.’ A division of consciousness during somhoill (a suspension of briocht in stasis to adjust details). This may be related to the term samailt meaning double; the process of constructing or invoking a second energy… perhaps a spirit-helper charged with some task whilst the Druid continues his/her principle focus of attention. Ngesadoirecht or ‘sorcery.’ Divination. Activites involving or concerning geasa (prohibitions, taboos, interdictions). Associated with the time of birth, the winds, weather, astrological events. The process of identifying the central key dynamic in a persons life, their destiny and path. Sruth bhua the current, stream or flow of ‘bua’ or energy. The flow of this energy is a key principle in the work of Draoicht and Filidhecht, charging the individual with the power to perform their duties and activities. The capacity to direct this flow of energy toward matter, and thereby change it. It is both immediate and experiential, knowledge and experience locked together. Reamhfhuireach is the trigger which sets off a ‘briocht’ set in place as a hidden trap, or shield of energy. A spell that protects, directs focus of attention away, bounces off incoming, meant to delay, postpone, or restrain. The essential meaning is to be wary or alert. Aithroicht is shape-shifting, the physical changing and manifestation of another creature… to actually become another self, to assume an alternative image, a disguise. Ortha a charm, physical not verbal. Mainly to infuse with power in the making of a tool or concoction. Used by blacksmiths, herbal healers, craftsmen… Upthaireacht or folk-magic. From upa meaning a ‘folk-charm’ and perhaps the construction of charms used in healing; the charms used in sacred springs to cure eye-disorders (of common folk). Earaid a magical interference or hindrance. The affect of a ‘curse’ upon an individual, or a compulsion… the ways to release it. Idircho an area of overlapping liminality. An in-between place in time and space where the edges of reality are blurred… the connection between this world and the other is stronger and allows more powerful communication and magical work to be initiated. Easca or ‘moon.’ Also meaning fluid, nimble and swift. Associated with lunar periods, tides, movements of the earth in relation to the moon, expectancy, exaltation, cleansing, the mind and fertility. The menstrual cycle and women’s mysteries. Oibelteoireacht is religious contemplation, meditation, discipline of the self, mind body and soul. Iompochur a briocht to reverse in boomerang fashion. A term derived from impod menaing to turn, return, warding or annulment. A briocht to deflect rather than seek direct confrontation. Uinde seeing or beholding. Visions, revelations, spiritual communications, dreams, translating cryptic signs or messages in nature. Airbhe is a hedge of protection. Encircling those within a barrier or boundary of spiritual strength, through which nobody could pass without injury. Created by a ritual and chant like the caim.

 

As previously mentioned, the Bards tasks never ventured further than versification and composition. The Saor Bard was entitled to use a specific type of meter called Nath in which the word at the end of each line makes a vowel rhyme or alliterates with the beginning of the next. The syllabic count of the Nath is irregular. There were six kinds of Nath meters called Deachna, which were practiced by the High Bards together with another form called Seadna. Suffice to say here that each category of bard was only permitted to practice a limited set of meters, and it was forbidden to compose anything out of that range.

 

Three Forges of the poet: of the burning embers of memory, of the university of reclining, of the clinging tendrils of knowledge.

 

As the poetic tradition developed in history most of the separate and distinct ancient meter became fused collectively into what is now known as Dan direach or ‘straight verse.’ These changes began in the 12th century under Norman influence and extended toward the 18th century. All that we know about previous poetic forms in encapsulated within the structures outlined in Dan direach. We know that poetic composition was extremely complex and structured. The basic form was a quatrain called a rann, with a set number of syllables per line. Ornamentation called comhardadh involved the marriage and blending of consonants and vowels individually categorized into slender and broad, hard, soft, rough, light, and strong. Three other ornamentations were employed; amus or assonance, uaithne or consonance, and uaim or alliteration. Two other distinctive features of most poetry included the dunadh or a technique which involved repeating the first word of a composition as the ending, and cross/internal rhymes. An example of the structure of one form called Rannaicheacht Mhor:

 

BC x x b x ac

x x x a x x bc

x b x x x x ac

x x a x x x BC

 

The complexities of these grammatical rules become more understandable when considering that Irish native poetry evolved within a purely oral context. The grammer is reflective not of the way a poem should be written but recited in public. Form, structure, rhythm and rhyme, intonation, and expression all play an essential part of the credible performance of poets who were expected to amaze an audience with vocal virtuosity, knowledge, and spiritual depth. It is little wonder how the Filidh came to be viewed with a sense of awe, respect and complete fear. As satirists they had the capacity to evoke elemental forces of immense power to blight and destroy the reputation of even the highest in the land.

 

Within the core of Irish poetics satire called Aer was an art-form all of its own. Satire was the whip of the Filidh, often used to command respect, punish the stingy, exact revenge or employed as an extortionate means to gather wealth. The variety, complexity and color of satires was immense, ranging from petty blasphemy to ridicule and banishment. Some satires were reputed to bring disease and blemish to the accused, others humiliation. Quite often the satire was used only as a threat to obtain a price. The three main categories were; Aisnes or a declaration in prose, Ail or an insult, and Aircetal or an incantation, of which there were ten varieties ranging from the private to the most public; Mac Bronn or ‘Son of a bitch’ a private insult. Dalbach or blindness, an innuendo. Focal i frithshuidiu or a word in opposition, a quatrain of praise in which there is a derogatory remark embedded. Tar n’aire or an outrage of negative satire. Tar molta or an outrage of praise, ironic or ludicrous praise. Tamall aire or a touch of satire, less outrageous than the last. Tamall molta or a touch of praise, assailing the victim with faintly credible remarks. Lanair or full satire, the entire family and reputation of the victim is assaulted. Ainmedh or sarcasm. Glam dicind is a full religious and magical rite of denunciation, aimed at completely destroying the victim and his/her life.

 

The first serious blow to the power of the Filidh came in 574 CE, under King Aedh Mac Ainmire who desired to banish all the poets from Ireland because of their great numbers and insolence. His complaint that the Ollamh have a retinue of 30 attendants, and the Anruth possess at least 15 followers, with lowers grades all possessing a certain number of disciples gives the definite indication of their extent of influence, popularity and breadth of importance. On this particular occasion they were all saved from extinction by none other than Saint Columcille himself, pleading on their behalf. The final demise of the ancient institution of the filidh and Bards came after the battle of Kinsale in 1601, the defeat of Hugh O’Neill and the Elizabethan re-conquest of Ireland in 1603. As a system of professional education that relied upon the Irish nobility for patronage, the aristocratic loss was immense when replaced by the English. The final nail in the coffin of the hereditary Irish poet was a historical even called the ‘Iomarbhágh na bhFileadh’ or The Contention of The Bards, a polemic and venemous contest between various principal poets lasting between 1616 to 1624 in defense of their respective patrons. The precise nature of this contest between 30 poets was over the relative merits of the north and south houses of descent. Later developing into vehement criticism over style, content and meter, language and presentation. The argument descended into base sarcasm and bickering, and perhaps as a result the traditional styles of composition within the system of Dan direach became regarded as obsolete, and a new, looser, fresher style called Amhran or Aisling was adopted.

 

There has never in history been a country or people more attached to the poetic arts as Ireland. In the years following the ‘Contention’ poetry was still practiced and developed with dedication, creativity and in the pursuit of personal vision. Perhaps the last and greatest Irish bard in the traditional sense was Toirdhealbach O Cearbhallain or Turloigh O Carolan (1670 – 1738). Despite being blind, O Carolan was a composer, poet, a writer and accomplished musician. Other poets of this era include Daibhi O Bruadair (1625 – 1698), Aogan O Rathaille, followed by the great Irish satirist and social commentator Jonathon Swift (1667 – 1745). The beautiful style of the Aisling poem was captured by the poet Brian Merriman (1747 – 1805) in his Cuirt An Mhean Oiche or ‘The Midnight Court.’ The standard was thence carried from the 18th to 19th centuries by artists such as Oscar Wilde, and into the 20th with Ezra Pound, Samuel Beckett, Padric Colun, and Seamus Heaney.

 

 

Irish Poetic Forms. Maureen O’Brien:

http://suburbanbanshee.net/irishptr/drchpoem/index.html

The Ogmios Project, Labara 5, by Meredith Richard:

http://www.summerlands.com/crossroads/celticlanguage/labara5.html

Master Poets and their Kings in Late Celtic Society, by Bennett Blumenburg:

http://home.earthlink.net/~merlynne6/eBooks/OLLAV.pdf

Eugene O'Curry's Manners and Customs of the Ancient Irish Vol. II.:

http://www.summerlands.com/cgi-bin/mods/showhtml/showhtml.pl?id=publibrary

Crane Magic by Iain MacAnTsaoir:

http://www.clannada.org/culture_crane.php

The Power of Words in Gaelic Culture by Iain MacAnTsaoir:

http://www.clannada.org/culture_words.php

Poetic Brehon Lawyers, by Katherin Simms:

http://www.humnet.ucla.edu/humnet/celtic/22papers/simms.pdf

Brehon Law and the File, Michael Ragan:

http://www.danann.org/library/law/breh5.html

Foclóir Draíochta - Dictionary of Druidism, Sean O Tuathail:

http://www.summerlands.com/crossroads/focloirdruids/focloir.htm

Toirdhealbhach Ó Cearbhalláin - Turlough O'Carolan:

http://www.irishpage.com/songs/carolan/carolmid.htm

A Smaller Social History of Ancient Ireland by P. W. Joyce:

http://www.libraryireland.com/SocialHistoryAncientIreland/Contents.php

The Contention of the Bards (Iomarbhágh na bhFileadh):

http://en.wikipedia.org/wiki/Contention_of_the_bards

Cuirt an Mheán Oíche—The Midnight Court by Brian Merriman:

http://www.showhouse.com/prologue.html

Irish Druids and old Irish Religions by James Bonwick:

http://www.libraryireland.com/articles/IrishBardsBonwickDruids/index.php

 

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