In addition to carving Ogham on wood, bone and stone, the Filidh used “Hand Ogham,” “Nose Ogham,” or “Leg Ogham” to secretly converse in sign language during meetings and rituals. The fingers were used to form the Ogham characters themselves and either the nose or the shinbone were used for a druim. These particular Ogham may also have been used to coordinate the singing and the performance of music as well (a traditional use of hand signals among the Greeks, the Chinese, the Hindus and a variety of ancient people).

In addition to the standard forms of Ogham, many other types of Ogham in a multitude of differing shapes and styles are shown within the Book of Ballymote. Some of these alternative Ogham are: Shield Ogham, Host Ogham, Ridgeless Ogham, Snake through the Heath Ogham, and Infilleted Ogham. Most of these alternative Ogham characters are found only in the Book of Ballymote text and a few of the other scholarly writings that reference it. The Ogham type that was most often found on marker stones and fedha was generally the simplest form; without all of the “bells and whistles” of the alternative figures. If we wish to master the ancient wisdom of the Ogham, we must start with a discussion of the ways of the Wise Ones who first mastered them. These masters were/are the Druids and Filidh, the Masters of Wisdom.

Who were these Druids and Filidh and how did they master their arts and the secrets of the Ogham? Much more is known about the training and education of a Filidh than is known about that of a Druid. It is generally accepted that the Filidh and the Druids studied similar topics and techniques, though the primary work of each was somewhat different. It is my opinion that the Druids studied the curriculum of the Filidh (poetry, traditions, music and seership), and that they also acquired knowledge in several other areas (such as medicine, warfare, judgments and smithcraft). When I discuss the abilities of the Filidh in this study, I am also referring to the talents and/or skills that were possessed by the Druids as well. The words “Filidecht” and “Draíocht” are used interchangeably within the text. Learning the Ogham forms and studying the Ogham lists was a basic requirement in the education of both a Druid and a Filidh. The Druidic Bards and Filidh studied for as long as 12 to 20 years to learn the epics, chants, spells and histories of their peoples and clans.

These works were memorized exactly as given and were a requirement for advancement to any higher or inner levels of the Druidic ranks. Each retelling had to be rendered perfectly, and with feeling, so that the listeners would be spell bound. The story recited by the Filidh played across the inner vision of the audiences as each person relived the events within their own minds (or recalled the working, learned the knowledge, opened the pathways, parted the mists, used the second sight, etc.).

Many levels of awareness were involved in such poetical experiences. Many different techniques were used by the Filidh to enchant their listeners. These Bards and the Filidh may have brought many different levels of knowledge and study to the workings. Sometimes a Master chanted alone. Sometimes the Filidh filled the hallways with group chanting. Sometimes they used instruments for accompaniment and effect. At other times, the power of their words alone was deemed appropriate. To better understand the diversity of the Filidh, their music, their Ogham, and their chanting, let’s look at their divisions and levels of accomplishment.

Levels of Filidh

The Irish Filidh had the following levels of standing: “a ‘Fochlac’, a ‘MacFiurmedh’, a ‘Doss’, a ‘Cana’, a ‘Cli’, and an ‘Anrad’, with an ‘Ollamh’ as the seventh.” The following table gives some idea of the amount of study and lore that they accomplished in their training:

This study consisted of tales that were of mythical, ethical and political importance, as well as a study in the techniques of poetry, divination, satire, blessing and praise. In addition to the literary aspects of the traditions, they also learned matters relating to herbal lore, Draíocht and the Brehon Laws. Let’s see what the aspiring Druid/Filidh studied along with their Ogham.

The form of some of these tales is thought to be a later addition to the repertoire of a Filidh (such as the Imrama and the Echtrai), though the subject matter of most of them is much earlier and heroic or mythic in nature. Traditionally a Filidh would recite the appropriate tale for the particular circumstances or occasion, as well as being able to recite a different story for each night of the long winter from Samhain to Bealtaine. In addition to the 150+ Prim-Scéla there were also additional tales known only to the four highest levels of Filidh. These may have concerned the more esoteric knowledge attained at this level such as Imbas Forosnai “Knowledge that Illuminates,” Tenm Laegda “Illumination by Chanting,” and Dichetal Do Chennaibh “Extemporaneous Incantation Using the Ends of the Fingers.” In my opinion, these techniques are similar to those already outlined for our use in Ogham Divination, particularly in the ways that they connect the dúile and the Coire, (but that is definitely another story for another time and place). Beyond the Primary Tales and the secondary Tales, there were also tales known as Dindshenchas “Place Name Origins” and Échta “Exploits” which could be related to the people and the gatherings.

A Few Examples

A few excellent examples of such primary tales that come readily to mind are:

1. Táin Bó Cuailgne, “The Cattle Raid of Cooley” (the conflict between the Men of Ireland and Cú Chulainn, the Hound of Ulster),
2. Cath Maige Tuired, “The Battle of Moytura” (the taking of Ireland from the Fomorii by the Tuatha Dé Danann), and
3. Forbhais Droma Dámhgháire, “The Siege of Knocklong” (a conflict between Tara and Munster that is resolved in battle by the Druid Mug Roith).

In just these three tales alone, we are shown the inner workings of Irish Celtic honor codes, marriage, kingship, inter-provincial political conflict, the relationships of the primal and the higher deities, and several techniques of Draíocht. How much more would we know and learn if all of the tales were available to us? Such was the knowledge base of the Filidh and the Druids. Many of these tales share a combination of both prose and poetry (which were both used to advantage by the Filidh in achieving the desired effects and impacts upon their listeners). Poetry was included in the twelve years of study by the Filidh, which is the next topic that I’d like to briefly discuss.