A::
Anruth > In Brehon Law > Poetic grades
Anruth, Noble Stream > By their sixth year the student, if they had stayed the course, was called a Pillar [Cli] and would study a further forty-eight poems and twenty more stories. Over the following three years, they were termed a Noble Stream [Anruth] because 'a stream of pleasing praise issues from him, and a stream of wealth to him'.
During this time they learnt a further 95 tales, bringing their repertoire up to 175 stories. They studied prosody, glosses, prophetic invocation, the styles of poetic composition, specific poetic forms, and the place-name stories of Ireland.
The most famous of the Anruth was the Welsh Taliesan. Although according to legend he was made the Chief Ollamh and head of the Council by his foster grandfather/father Gwynudd, he did not carry the golden bough but preferred the silver bough.
Thus through the symbolism of the Silver Bough, it's attending cycles of song, poetry, story and mysticism, our company The Silver Bough adopts it's name.
Paralleling the status of the lay grades are the grades of the filid (poets). Each poetic rank corresponds to a particular lay (and ecclesiastical) rank, from Bóaire to king. In Uraicecht na Ríar these are given as fochloc, macfuirmid, dos, cano, clí, ánruth, and ollam.[35]
These are given the same status as and the same honour prices as the lay grades, and hence have effectively the same rights. The qualifications for each grade is where the difference occurs. The qualifications fit into three categories, the status of the poet's parent or grandparent, their skill and their training.
Particular number of compositions are give for each rank, with the ollam having 350.
In addition to the seven main ranks, variously named ranks below these seem to be names for unskilled poets, the taman, drisiuc, and oblaires.
Their honour prices are no more than a pittance, and their poetry is apparently painful to hear. (Liam Breatnach, Uraicecht na Ríar, p. 113)
B::
Bards > And there are among them composers of verses whom they call Bards; these singing to instruments similar to a lyre, applaud some, while they vituperate others.
Diodorus Siculus Histories 8 BCE
Barhrin > denominates the mysteries of Bardism, or the gradations of tuition preparative to the confirmation of a novice in the character of an approved Bard.
Bell Branch > As Ollamh, Doctor of Poetry, they were entitled to receive a gold branch. As Anruth, Noble Stream, they had carried a silver branch, and before that - throughout their training - they had carried a bronze branch.
These branches had bells attached to them, so that as the poet strode into the hall to recite a poem or tell a tale, they would be accompanied by the sound of bells - warning the audience to become silent, and summoning the help of the inner realms to ensoul their poem or story.
Birch > the tree of the Bards
C::
Cantalon > The Druids and filídh were known for their divination and mysticism. These took many forms, such as the learning and verse forms for composing blessings and curses,and the memorization of old hymns, chants and incantations. The basic song was called a cantalon in Gaulish (cetal in Old and Middle Irish)
Cental >
Cental > The Druids and filídh were known for their divination and mysticism. These took many forms, such as the learning and verse forms for composing blessings and curses,and the memorization of old hymns, chants and incantations. The basic song was called a cantalon in Gaulish (cetal in Old and Middle Irish)
Cli > By their sixth year the student, if they had stayed the course, was called a Pillar [Cli] and would study a further forty-eight poems and twenty more stories
D::
Derwydd > The word that corresponds with the irish "filidh," in Welsh, would be "derwydd," (oak-seer) the word from which "druid" is derived.
Dipthongal combinations >
DIPHTHONGS.
30. The vowels i, u, ou, o, preceding a vowel sound, may coalesce with it and produce a diphthong.
These vowel sounds (i, u, ou, o,) are the only ones that can be initial in a true diphthong; » ». one in which two vowels are heard but coalesce into one syllable.
31. In French diphthongs the first vowel (», w, ou, o) is uttered quick and short and the voice rests upon the second vowel element. The dipthongal combinations are: i-a, i-e (i-ai),— i-o (i-au), i-eu, i-ou, — o-a, o-e, o-i (wa), — ou-a, ou-ai, ou-e, ou-i, — u-a, it-e, u4. The e in these combinations is not the e mute.
By paying attention to the above remark the diphthongs present no difficulty, as each vowel retains its proper sound, the first being very short ; oi is the only exception.
OI. (oy.)
32. Oi is nearly like wa in water; more accurately oi is equivalent to French a preceded by a w sound. The a (ah) is more prolonged in voir, to see; poire, pear; than in roi, king; moi, me.
Or, followed by a vowel, is equivalent to oi-i. Ex. royal.
(http://books.google.com/booksid=XyoBAAAAYAAJ&pg=PA19&lpg=PA19&dq=dipthongal+combinations&source=bl&ots=9QkQ-182HY&sig=_dDxaKQ_QrUFTHaL-gpqafjzx04&hl=en&sa=X&ei=J_wMVLmZG7L68AHw1oDQDw&ved=0CCcQ6AEwAQ#v=onepage&q=dipthongal%20combinations&f=false)
Drisac > In the first year, the student progressed from Principle Beginner [Ollaire] to Poet's Attendant [Tamhan] to Apprentice Satirisist [Drisac]. During this time they had to learn the basics of the bardic arts: grammar, twenty stories and the Ogham tree-alphabet
F::
Fili > In Ireland and Scotland, the use of the word "Bard" apparently fell into some disrepute, as the records we have show that the Bard was simply a minor poet, while the "filidh" (seer) or the "ollave" (master poet) occupied the former status and functions of the Bard.
Filidh > In Ireland and Scotland, the use of the word "Bard" apparently fell into some disrepute, as the records we have show that the Bard was simply a minor poet, while the "filidh" (seer) or the "ollave" (master poet) occupied the former status and functions of the Bard.
G::
Glosses > mid 16th century: alteration of the noun gloze, from Old French glose (see gloze), suggested by medieval Latin glossa 'explanation of a difficult word', from Greek glōssa 'word needing explanation, language, tongue'.
Gogynfeirdd > In Wales, the Bard was not so lucky. There, the traditions ossified, and the Bards, after the advent of Christianity, became Court Poets, known as "Gogynfeirdd," or "Prydydd," limited in subject matter and form, and with rigidly structured rules.
H::
Hedge-Bard > The "hedge-Bards" were the ones that carried on the real traditions of the Bard. These are the people that gave us the "Cad Goddeu" and the "Hanes Taliesin," and who -may- have passed the "Matter of Britain" on to the French troubadors and trouveres, thus giving us Arthur and Camelot
L::
Laedha > Another verse form was called a lay (or laedha, in Old Irish).Words, singing and poetic speech were considered magical in Celtic culture, and certain forms of poetry or verse were used for accomplishing effects. A Druidic spell would thus be accomplished by singing a certain kind of song. References to these songs have been found in ancient Gaulish inscriptions, as well as Irish texts such as the Book of Ballymote, and formed part of the fifteen-year training in the Filídhecht or "Bardic" schools.
Thus certain formsof poetry or verse were used for accomplishing certain effects. Words, singing and poetic speech were considered magical in Celtic culture, and certain forms of Irish filídh also had to learn ogams; numerals, ciphers and codesmade from notches carved along the straight edge of a twig.
Ogams were primarily primitive numerals and mnemonic devices, but were later used for memorizing and spelling out the sounds of the early Irish language, and for divination. There were originally twenty ogam characters, but in medieval times the Filídh invented an extra five, called aicme forfeda, ("group of extra woods [letters]"), for consonant clusters or diphthongs.
Among other natural phenomena, lists of trees, animals, hills, and bodies of water were all part of the ogamic system. Only later did names of trees become associated with the ogam alphabet.)
Law of Privileges > (Law of Privilege) A privilege is a special entitlement to immunity conditional basis.
It can be revoked in certain circumstances granted by the state or another authority to a restricted group, either by birth or on a
Lay > Another verse form was called a lay (or laedha, in Old Irish).Words, singing and poetic speech were considered magical in Celtic culture, and certain forms of poetry or verse were used for accomplishing effects. A Druidic spell would thus be accomplished by singing a certain kind of song. References to these songs have been found in ancient Gaulish inscriptions, as well as Irish texts such as the Book of Ballymote, and formed part of the fifteen-year training in the Filídhecht or "Bardic" schools.
Thus certain forms of poetry or verse were used for accomplishing certain effects. Words, singing and poetic speech were considered magical in Celtic culture, and certain forms of Irish filídh also had to learn ogams; numerals, ciphers and codesmade from notches carved along the straight edge of a twig. Ogams were primarily primitive numerals and mnemonic devices, but were later used for memorizing and spelling out the sounds of the early Irish language, and for divination.
There were originally twenty ogam characters, but in medieval times the Filídh invented an extra five, called aicme forfeda, ("group of extra woods [letters]"), for consonant clusters or diphthongs. Among other natural phenomena, lists of trees, animals, hills, and bodies of water were allpart of the ogamic system. Only later did names of trees become associated with the ogam alphabet.)
M::
Magick > The Druids and filídh were known for their divination and mysticism. These took manyforms, such as the learning and verse forms for composing blessings and curses,and the memorization of old hymns, chants and incantations. The basic song was called a cantalon in Gaulish (cetal in Old and Middle Irish).Another verse form was called a lay (or laedha, in Old Irish).Words, singing and poetic speech were considered magical in Celtic culture, and certain forms of poetry or verse were used for accomplishing effects.
A Druidic spell would thus be accomplished by singing a certain kind of song. References to these songs have been found in ancient Gaulish inscriptions, as well as Irish texts such as the Book of Ballymote, and formed part of the fifteen-year training in the Filídhecht or "Bardic" schools. Thus certain forms of poetry or verse were used for accomplishing certain effects. Words, singing and poetic speech were considered magical in Celtic culture, and certain forms of Irish filídh also had to learn ogams; numerals, ciphers and codesmade from notches carved along the straight edge of a twig. Ogams were primarily primitive numerals and mnemonic devices, but were later used for memorizing and spelling out the sounds of the early Irish language, and for divination. There were originally twenty ogam characters, but in medieval times he Filídh invented an extra five, called aicme forfeda, ("group of extra woods [letters]"), for consonant clusters or diphthongs. Among other natural phenomena, lists of trees, animals, hills, and bodies of water were all part of the ogamic system. Only later did names of trees become associated with the ogam alphabet.)
O::
Ollave > In Ireland and Scotland, the use of the word "Bard" apparently fell into some disrepute, as the records we have show that the Bard was simply a minor poet, while the "filidh" (seer) or the "ollave" (master poet) occupied the former status and functions of the Bard.
Ollaire > In the first year, the student progressed from Principle Beginner [Ollaire] to Poet's Attendant [Tamhan] to Apprentice Satirisist [Drisac]. During this time they had to learn the basics of the bardic arts: grammar, twenty stories and the Ogham tree-alphabet.
Irish poet-magicians such as the filídh graduated from the Bardic schools, whose highest degree was an ollamh (oll-uv), the medieval Irish equivalent ofa Ph.D. The ollamh ré filídhecht was granted many privileges that only high Druids held in pre-Christian times. They were expected to work as masters of ceremony for all royal occasions and to be advisers to their kings.
There were also specialists, such as the Brehons, whose expertise was in law,and seanchaídhe or shanachies who specialized in history, stories and genealogy. Singers (bards), musicians, physicians and healers also went through similar training
Ollamh > The final three years of their training entitled them to become an Ollamh, or Doctor of Poetry. In their tenth year the student had studied further poetic forms and composition, in their eleventh year 100 poems, and in their twelfth year 120 orations and the four arts of poetry. He or she was now the Master or Mistress of 350 stories in all.
The ollamh (ollav), or arch-poet, who was the highest dignitary among the poets, and whose training lasted for some twelve years, was obliged to learn two hundred and fifty of these prime sagas and one hundred secondary ones.
P::
Pillar > By their sixth year the student, if they had stayed the course, was called a Pillar [Cli] and would study a further forty-eight poems and twenty more stories
Poetic composition >
Poetic composition > In the countable sense, a verse is formally a single metrical line in a poetic composition. However, verse has come to represent any division or grouping of words in a poetic composition, with groupings traditionally having been referred to as stanzas.
In the uncountable (mass noun) sense verse refers to "poetry" as contrasted to prose.[1]
Where the common unit of verse is based onmeter or rhyme, the common unit of prose is purely grammatical, such as a sentence or paragraph.[2] Verse has had a traditional application in drama, which is therefore known as dramatic poetry, verse drama, or dramatic verse.
Prophetic invocation, > Hard to run down but this is close: The practitioners of prophetic prayer believe they are praying the very words of the Gods into the world. thus acting as conduits for Gods Will and making their prayers “prophetic.”
Prosody > noun the patterns of rhythm and sound used in poetry.
"the translator is not obliged to reproduce the prosody of the original"
the theory or study of prosody.
the patterns of stress and intonation in a language.
plural noun: prosodies
"the salience of prosody in child language acquisition"
Prydydd > In Wales, the Bard was not so lucky. There, the traditions ossified, and the Bards, after the advent of Christianity, became Court Poets, known as "Gogynfeirdd," or "Prydydd," limited in subject matter and form, and with rigidly structured rules. they had to learn the basics of the bardic arts: grammar, twenty stories and the Ogham tree-alphabet
S::
SCA > Society for Creative Anachronism
Scops > Bards are found in Celtic cultures (Ireland, Scotland, Wales, Manx and Brittany) and a rough equivalent can be found in Norse culture, too, where they were known as "scops."
T::
Tarbhfeis (tarrvaysh) > Filídh ceremonies such as the tarbhfeis (tarrvaysh), or "bull-dream," involved a type of incubational divination; similarly, the imbas forosnaí (im-viss fo-ros-nee) was an incubation or lucid- dream state induced by an incantation and splashing of animal blood or water on the cheeks.
Many of these incubations involve sleeping or dreaming on the hide of a sacrificial bull or ox. Many other magical techniques of the filídh are found in the Book Of Ballymote, the Book of the Dun Cow, Cor- mac’s Glossary and in the Fenian tales.
Tamhan > In the first year, the student progressed from Principle Beginner [Ollaire] to Poet's Attendant [Tamhan] to Apprentice Satirisist [Drisac]. During this time
Troubadors > The "hedge-Bards" were the ones that carried on the real traditions of the Bard. These are the people that gave us the "Cad Goddeu" and the "Hanes Taliesin," and who -may- have passed the "Matter of Britain" on to the French troubadors and trouveres, thus giving us Arthur and Camelot
V::
Vituperate > verb archaic
blame or insult (someone) in strong or violent language.
synonyms:
scold, revile, upbraid, criticize;
blame, abuse, insult,
vilifiy, denounce, denigrate, disparage
;
formalcastigate
References:
http://www.pbm.com/~lindahl/articles/onbards.html
http://www.druidry.org/druid-way/what-druidry/what-druidism/what-bard
http://www.gotquestions.org/prophetic-prayer.html
https://en.wikipedia.org/wiki/Verse_(poetry)
http://www.thesilverbough.com/bough.shtml
https://en.wikipedia.org/wiki/Early_Irish_law
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