Bird Omen Craft

8/9/2019 Bird Omen Craft

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eRì evàM edRuM: : - ERI ETIAM ETROM - ON THE BIRD'S FLIGHT - 1

BIRDOMENCRAFT

.ON THE BIRD'S FLYING.NEOPAGAN IBERIAN FOCUSED ATTEMPT OF AUGURY

Nemetios YpuaranakosBrazil, 2010 Autumn

0.1 english version made for Ancient Iberian yahoo groupsUNDER CREATIVE COMMONS LICENSE

this little ebook was made with OpenOffice – viva linux!



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eHRokìlàt: :

eRì evàM edRuM: :

.ETROCAEILACTA.

ERI.ETIAM.ETROMBIRDOMENCRAFT

ON THE BIRD'S FLIGHT

BneMevos ìÍuàRànàQs:

NEMIDIOS YPUARANAICOS

senàQfRevMà ìBRofltk àTÌnàk: : : :

SENAECOCREDIMA.IBEROCELTICA.ATECNAECA

ZYZYZYZYZYZYZYZYeRì evàM edRuM: : - ERI ETIAM ETROM - ON THE BIRD'S FLIGHT - 2



We propose here offer a simpleand revisable system of birdomen's reading for nowadaysusers with focus in Iberian Celticancient cultures. Our focus-folkis the Druids and Neopagans ingeneral who adopt religiously theCeltic Iberian cultures of before-roman and roman times. Thissystem is free for modifications,adaptations and reformulations in

other contexts and frameworks,since recognized the origins andauthor.

Nemetios Y. VI Aprilis MMX.

~~~~~~~~~~~~~~~~~~~~~~




he reading of omens by the bird's flight is oneof the attested technicals used by the Celts asDiodorus Siculus ( Bibliotheca Historiae, V. 31)or Cicero ( De Divinatione, I. 41) say us. Theiconographic sources appoint out too a verydeeply imagery linked to birds in Continental

Celtic world, in general, birds representing Gods itself or beingmessengers and vehicles for the Gods (GREEN, Miranda A. An Archaelogy of Images. “Flights of the soul”. London: Routledge,2004. p. 144). For general information and justification see

GRENN, Miranda A. Animal in Celtic Life and Myth. “TheBird-Lovers”. London: Routledge, 1992. p. 211; ROSS, Anne. Pagan Celtic Britain. “Sacred and Magic Birds”. London:Cardinal, 1974. p. 302; MONAGHAN, Patricia. The Encyclopedia of Celtic Mythology and Folklore. “Birds”. NewYork: Facts on File, 2004. p. 46).

T

Greek-Roman Ornithomancy/Augury.

The Greek and Roman world registered its uses, theory anddiscussions about, all a valuable source for information of theancient ways of augury. A very good book on general Greekdivination is FLOWER, Michael A. The seer in Ancient Greece.Berkeley: University of California Press, 2008. For the romanworld there is many first-handed informations about, but Isuggest a contemporary information and system from Religio

Romana's site (http://www.religioromana.net/augury.htm). Hereis said that Cicero recognized similarities with the druidicsystem of his friend Divitiacos. I did not find it in the Cicero'stexts I searched ( De Natura Deorum and De Divinatione), if someone find it, please post me the passage.

Insular Celtic.There is many information from the mediaeval celtic insular


http://www.religioromana.net/augury.htm

http://www.religioromana.net/augury.htm



literature. From the littles passages of the Cath Maige Tuiredor Taín to strict treaties on it. It's the case of the Mary Jones'page (thanks to Endovélicon): (http://www.maryjones.us/ctexts/ auguries2.html) it contains two treaties on augury the

“Fiachairecht Andso Sis” and “Dreanacht Andso Sis”. Donot continue read this before read these two treaties.In a interesting post of OBOD's forum "The Druid Grove"(http://druidry.org/board/dhp/viewtopic.php?f=186&t=32786) istold about a mediaeval irish text called Og Ohain, it contains theinstructions to the reading of wren's flight. I did not find this text(but I did not find much too), but the post contains also verygood associations on birds in celtic point of view.

Ancient Iberia.The existence of hieroskopoi (etym. “the ones who inspect thevictim” at time of Strabo, according to LIDDELL, Henry G.;SCOTT, Robert; JONES, Henry S. A greek-english lexicon.Oxford: Clarendon Press, 1996. p. 822, a greek term equivalentto latin haruspex) among the Lusitanians is attested by Strabo

(Geog. III, 3; vi) and in general, to all other celtic-like folks of Iberia. But those refer just to specialists in foretelling bysacrificed victims' inspection (vd. SOPEÑA, Gabriel.Celtiberian ideologies and religion. In E-Keltoi n. 6: The Celtsin Iberian Peninsula. 2005. p. 361 and SIMÓN, Francisco M. Religion and religious practice of the Ancient Celts of the Iberian Peninsula. In E-Keltoi n. 6: The Celts in Iberian Peninsula. 2005. p. 322-324 or LORRIO, Alberto J. LosCeltíberos. Madrid: Universidad de Alicante/UniversidadComplutense de Madrid, 1997. p. 52-56). And for those whoread the bird's flying? We don't have any firm literally wit,textually speaking, according to accessible specific sources Ihad. But epigraphy offers a wide evidence for it, and to detail itis extensively long – in general, the great presence of birds onceramic with religious scenes and symbols alludes that. Another


http://www.maryjones.us/ctexts/auguries2.html






valid work, but now inviable for me, is search evidences forBirdomen reading at non-direct-related literature, as poems of Martial, war relates, etc. So we assume the hispano-celtic“birdomencraft” by analogy with the insular (Irish, Welsh, etc.)

and other continental (with Gaul, specially) celtic world, anallusion to this in ibero-celtic folks epigraphy, and generalconceptions of rounding graeco-roman world.

General Theory.In general and free speculative form we assume this.1. Preparing2. The sign itself 3. The reading of the sign

1. is the important to prepare all the background informationrelated to perform the reading and to restrict the error grade of the process, as in all oracular systems. Here functional andfamiliar technicals are the focus. This are the goal of the Roman(or better, Etruscan) construction of the templum: a visual field

delimitation on the sky, which each part has strict traditionalassociations, restricting the error grade and turning the readingmore focused. The victim's sacrifice, historically, was requiredby three reasons, in minimo, as exemplified by Greco-Romanworld: a) the summoning reason, i.e. the sacrifice as way to callgod's attention, b) the organic reason, i.e the sacrificial victim asthe necessary instrument to read the omen and c) the primicialisreason, the sacrifice as a way to propitiate, initially, the god bythe favor. The combination among that is free and sometimesconfused, and it's not our aim here make a treatise on sacrificebefore the omen. 2. is the sign itself, the natural and randommovement of the bird. The randomness of the movement isessential: it is the core of any oracular system, that attributes therandom movement to gods' will or supernatural/natural invisibleforces. See the movement itself require some interpretation yet,




occult in language and the mental process based on symbolicframework. But, for our purpose, we consider the sign itself as aneuter thing: a true manifestation of the power who guide themovement. 3. is the 'beholding' by a cultural framework, by a

symbolic system of interpretation – different in each culture. Itmakes see 2, the sign itself, by a glasses' lens. The lensmakerwas Indo-European, the lens itself, Celtic, and the adjusts madeby bio-regional circumstances.I believe the ADF system is adequate to this, regarding the“standard” liturgy, with few metaphysics adaptations after thekindred offerings and before waters of life.

System's meta-values.α) LanguageIn general, the Romans believed the right-came omens aredisfavorables and the left-came omens are favorables, theGreeks the opposite. And the Celts? According to Proto-Celtic*dexso-/*dexsiwo- is "south" and also "right". This echoes*deiwo-/*desos-, "god" and *dewyo- "strong". At other side,

*tow(s)to- is "north" and also "left" (Old Irish, the adjectivetúath means "bad, perverse"; in Old Breton 'tuthe' is "kind of demon", but 'tut ' means "favorable"), and echoes *towtā, "tribe,people, folk". It does not implies, necessary, a dualistic moraldisposition of opposites – thing really strange to Celtic mind. It just implies an orientation based on sunrising. So we assume theright signs as favorables and the sunrising as direction guide.

β) LiteratureTo go, point by point, at all the insular celtic mediaeval literaturesearching evidences is very great job, beyond my possibilitiesnow (and not just 'now', maybe to every single human life). So ismore interesting to our purposes see some key-texts. The texts of Mary Jones' page is very good example. About directions,there's a very interesting text of druid Bellovesos Isarnos on it,




called “Direções e Atribuições” (“Directions and Attributions”in portuguese) http://bellovesos.multiply.com/journal/item/29, he puts together some Irish texts and exposes the attributionsrelated to directions. So we assume the possibility, read it well

please POSSIBILITY, of construct a nemetom by analogy withEstruscan/Roman templum, but following the celtic directionsand attributions, as a nowadays practice – we don't haveevidences for think the Continental Celts – that of Iberia mainly– did this. I don't do that, lacks me knowledge to.

γ) UPGHere is my personal experiencing. In general, I see as interestingthe Roman behavior of maintain a kind of 'Birdomen's book'.As omen's diary and recording for eventual checking, innowadays it can be done electronically. The more relevantexperiences I had with birdomens occur at a sunrising facinghill, were recently the god Endovellicos allows (by a dream) usbuild a votive altar to him, with significances intuitively closer.So I assume that the system is a functional tool that can be

improved, adapted and corrected too by experiencing, awenfullinsights or oracular suggestions.

Method.i. first things.General preparations: materials, altar, victim, metaphysicalcleaning of the augur, etc. If the omen is a major ceremony part,there's no need of this. But anyway, the kailiakos must beconcentrated and at the proper mind-state to performs the rite.The rite is best performed at the light of day, on open naturalplace (in a traditional nemetom/sanctuary/temple regular used byparticipants).

ii. the offering.Bringing of the victim (grains, bread, food, drink, etc.),


http://bellovesos.multiply.com/journal/item/29





consecrating it by the presents ones, performing the sacrifice.The kailiakos or priest must know the correct ways to do it.After the 'immolatio' (ritual slaying/destroying/putting of theoffering) the kailiakos ask the question to the gods or to a

specific god, closing his/her eyes and facing the sunrise. A ritualsound sign (horn, silver-branch) can be sounded after or beforeit.

iii. the reading.At opening of the kailiakos eyes, the omen is seen. Any bird (oranimal...!) at the sky is beheld, and the kailiakos performs theomen's reading gathering the elements of the system below(dosing that with his own intuition or moment inspiration). Thereading of the kailiakos is sung by him to the presents, in a formof poem (traditionally eight-syllables metrically > a britu/brictu,or any familiar poetic composition to the kailiakos).

System.* Directions

Approaching – very good omen, immediate success, auspiciouscomingGoing away – bad omen, immediate hardnessUpwards – good omen, rising, cure, conquestDownwards – bad omen, problem, troubleNo variation – neuter moment passive to be turned by act,constanceClockwise – facility, favorable with the natural forces and cyclesAnti-clockwise – trouble, no conformity with the natural cyclesLeft to Right – good omen, favorableRight to Left – bad omen, unfavorable

* ModiContinuity – constance, previsibility, unalteration, firmnessTurning to oppose direction – quick change, turning,




imprevisibility, inconstancy, hard doubts by some involvedones, changing situation

*Ways

Right flying – good omen, little work, immediatepleasure/happiness/resultCurved flying – hard work, mediate action, wait, indirect resultCircle flying – cycle, natural transformation, changingSpiral flying – spiral transformation, journey related to (or withthe imminent presence of) otherworldStay over the kailiakos – beware with the hidden things, actions,speeches, intentions of/or closer persons

* Height High – proximity with celestial Gods, need intelligence, wisdomand creative solutionsHigh and Low – imprevisibility, no definition yet, hard work,many forces involvedLow – proximity with the underworld Gods, need work, strength

and traditional customs

*Sound Sound going up – go bravery and without fearSound going down – beware, go with caution and alertSound on the air – be open to new messages, bewareContinuum Sound – imminent risk, alert, caution

Modificators.*Birds-vulture > otherworld, messages, gods, heroes, glorious deathand prophecy-eagle/bird-of-prey > braveness, nobility ruling, leadership andkingship-wren > knowledge, wisdom, trades and magic




-swan > transformation, poesy, awenfullness-owl > disasters, death, plague-crow and raven > otherworld, death in war, messages,forecoming events and ancestors

-geese > protection, warfare, otherworld-crane > wealth, richness, fortune-blackbird > transformation, journey, apprenticeship*Colors and traditional associationsThe meaning and association of colors change to each culturebackground. The Irish and Welsh mediaeval literature (as aparadigm) and some view on celtic languages show us someinteresting associations. The folklore of the celtic regions is avery deep source of information too; and in our case, thetraditional associations present in Portugal and Spain's folkloreis a valiant tool. In America or Oceania, a little more job isrequired, including a view in native folklore about. The mainpoint here is study the Bio-region birds, its traditionalassociations and, if the case, repaganize it in celtic world-vision.*Flocks: behold the head, the first to move or flying.

*Wing-beat: If the wing-beat can be reckoned, some interestingthing can be done involving ogham. For each wing-beat is anoghaim fid, observing the natural pauses on the bird's flying,i.e. put the wing-beats on an ogham reading system. E.g. the birdflying low in clockwise circles, beat 4 times the wings and aftera short pause another 5 times. It can be read: low – underworldaspects, clockwise – conforming the natural forces, circles –natural changing, transformation, 4 and 5 - <4> the aicme

ailme, <5> the fifth fid, i.e. >i. Depending on question,those elements are gathered forming the interpretation, it canoffer a very precise reading.

Lexicon.DELAMARRE, Xavier. Dictionnaire de la langue gaulloise. 2nd

Ed. Paris: Éditions Errance, 2003.




MATASOVIĆ, Ranko. An etymological lexicon of Proto-Celtic.Leiden: Brill, 2009.University of Wales' Proto-Celtic/English Wordlist :http://www.wales.ac.uk/Resources/Documents/Research/CelticL

anguages/ProtoCelticEnglishWordl ist.pdf

Proto-Celtic*briχtu- “magical formula, incantation”*dexso-/dexsiwo- "south, right"*kaylā-/kaylo- "good omen, signal"*kaylyāko- "augur"*klēyo- "left, inauspicious"*φatar- "bird"*φari-tero- "east"*φetno-/φetro- "bird"*φetro-kaila-aχtā- “art of read auguries from the birds flight”*skublo- "bird-of-prey"*tow(s)to- "north, left"*uφo-kliyā- "north"

*uφo-nes-eyo- "sunsetting [west]"*wāri- "sunrising [east]"

Keltiberikaareterom, o: "east"atar, ros: "bird"britu, os: “magical formula, eightsyllabic incantation of the seer”desiuom, o: "south", desiuos -a -om: "right"etrokailata, as: “art of read auguries from the birds flight”etros, o: "bird"kailiakos, o: "augur"kailos, o: "omen"kleios -a -om: "left"skublos, o: "bird-of-prey"toutom, o: "north", toustos -a -om: "left"




uaris, is: "sunrising"uokleia, as: "north"uoneseios, o: "sunsetting"

Western-iberian-celtic and Lusitanic(?)arterom, i: "east"atar, ros: "bird"brictu, os: “magical formula, eightsyllabic incantation of theseer”caeilos, i: "omen"caeliaecos, i: "augur"cleos -a -om: "left"dexom, i: "south", dexivos -a -om: "right"etrocaeilacta, as: “ art of read auguries from the birds flight”etros, i (petros, i?): "bird"scublos, i: "bird-of-prey"toudom, i: "north", toussos -a -om: "left"varis, es: "sunrising"vocliia, as: "north"

vonesios, i: "sunsetting"

ANY CRITIC, SUGGESTION OR OBSERVATIONS, PLEASESEND US EMAIL.

SENAKOKREDIMA IBEROKELTAKA:[email protected]

ADF ANCIENT IBERIAN:[email protected]

NEMETIOS YPUARANAKOS:[email protected]


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