Spellcraft And EarthMagick

There are three grades in the Druid Path, these being Bard, Ovate and Druid. Each had distinct functions in the Celtic society. Though Druid grade took the longest to achieve, it did not diminish the importance of the roles fulfilled by the other two grades. Each grade required numerous years of study to master. Modern Druid organizations have variations on these three grades, but each still remains in some form.


Bard
“The keepers of the tradition, of the memory of the tribe - they were the custodians of the sacredness of the Word…poet and musician, the preserver of lore, the inspirer and entertainer.”
Most people associate the term "Bard" with Shakespeare and this term seems appropriate, since poetry and storytelling were the realm of the bards. Satire, music and song were also important skills of bards. Often the bards would specialize in one of these areas.
The traditional color of the Bard is blue, while the traditional tree for this grade is the birch.

Ovate
Those “responsible for understanding the mysteries of death and rebirth, for transcending time - for divining the future, for conversing with the Ancestors - travelling beyond the grave to bring augury and counsel to those still living on earth…the doctor, detective, diviner and seer...”
If magic was done by a druid, it was undoubtedly the realm of the Ovate. Healing and divination and the other mystic arts are the Ovate's realm. Today's druids often practice reiki for healing and use divination tools such as tarot, the Ogham, or the Druid Animal Oracle.
The traditional color of the Ovate is green, while the traditional tree for this grade is the yew.

Druid
“His functions, simply stated, were to act as advisor to kings and rulers, as judge, as teacher, and as an authority in matters of worship and ceremony…The classical texts never refer to them as priests, but as philosophers.”
One did not fully reach the status of Druid with a capital "D" until many, many years of training. This is why the stereotypical picture of an ancient Druid was an older man, white beard and all. Druids were respected because of their vast knowledge acquired through their years of study. This is why they were often the teachers, advisors, and spiritual leaders of the Celtic community.
The traditional color of the Druid is white, while the traditional tree for this grade is the oak.


THE BARDIC TRADITION
What is a Bard?
A bard is a poet and singer in religious or feudal contexts. The word is a loan from Celtic *bardos, ultimately from PIE *gwerh "to raise the voice; praise".

The word was taken from Latin bardus, Greek bardos, in turn loans from the Gaulish language, describing a class of Celtic priest (c. f. druid, vates).
Bards make up one of the three grades of the Order of Bards, Ovates and Druids, a Neo-Druidic order based in England.

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."
There is no real equivalent to the Celtic Bard in Anglo-Saxon England, however.

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.

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.
The word that corresponds with the irish "filidh," in Welsh, would be "derwydd," (oak-seer) the word from which "druid" is derived.

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.
The word "Bard," in Wales, denoted a master-poet. In Ireland it meant a poet who was not an Ollave, one who had not taken all the formal training. Apparently even the lower-status Irish Bard was on a level with the Welsh Bard in knowledge and poetic education, however, and these were what I have termed "hedge-bards," above.
In the Celtic cultures, the Bard/Filidh/Ollave was inviolate. He could travel anywhere, say anything, and perform when and where he pleased. The reason for this was, of course, that he was the bearer of news and the carrier of messages, and, if he was harmed, then nobody found out what was happening over the next hill. In addition, he carried the Custom of the country as memorized verses...he could be consulted in cases of Customary (Common) Law. He was, therefore, quite a valuble repository of cultural information, news, and entertainment.

Bards were part of the Druidic hierarchy
A true Bard must know the following: music (and the playing of a period instrument, preferably Harp), poetry (original, and other people's), song (original and other people's), the History, Law and Custom of his/her Kingdom and as much knowledge of mundane medieval history, Law, and custom as they can possibly learn, and at least a very basic knowledge of linguistics and alphabet/cyphers. Some training in Folklore, and in the arts of Sociology and Semantics would help, too. A reasonable amount of heraldic knowledge would not be out of place, either.
The Bard should investigate the "Matter of Britain" very thoroughly, paying special attention to Sir Gawain, and to Arthur's Queen.
Bards do -not- just sing songs! They recite, and write poetry, stories, tell myths but the operative word here is that they -speak-. Just playing music does not entitle you to be called a Bard.
Some Bards are "titled," that is, someone, be it another Bard, or whoever, or sometimes (very seldom) the Bard himself, has given them a bardic "name" or "title," that serves to identify them.



Power and Word: Shamanic Roots of the Bardic Tradition
The Celtic bardic tradition is deeply rooted in nature, culture and wisdom traditions. Bards studied for as much as twenty years, memorized the genealogies, history, science and spiritual wisdom of the tribe. They were the keepers of tribal experience and knowledge passed on through the oral tradition. Their duty was to transmit this knowledge to the people and pass it on to the next generation.
The Bardic worldview is characterized by the experience of connection to nature and ancestors, and the relationship of living beings on many levels of reality. This was a generous communicating world. The bard was responsible for listening and responding to the layers of reality and for maintaining balance and harmony on these levels.The power of the bardic vision and word depended on the invocation of and conscious interrelationship with these powers.
The bard's vision and word have creative, regenerative and destructive power when spoken both spiritually and politically in the individual and communal life of a people.

The Song of Amergin is thought to be the oldest recorded poem in Ireland. Written at the time of the Melisian invasion Amergin's song invokes the powers within and without the peoples. He weaves a spell of victory and of the eventual balance of peace between the two forces.

Song of Amergin
I am a wind of the sea,
I am a wave of the sea,
I am a sound of the sea,
I am an ox of seven fights,
I am a stag of seven tines,
I am a wild flood on a plain,
I am a wind on deep waters.
I am a shining tears of the sun,
I am a wonder among flowers,
I am a lure from paradise,
I am a hawk on a cliff,
I am a salmon in a pool,
I am a hill where poets walk,
I am the one who forms smoke
from sacred fire, I am the one
who sets a fire in the head.
I am a boar ruthless and red,
I am a spear that roars for blood,
I am a tide that drags to the death,
I am a breaker threatening doom,
I am an ancient rock atop standing stones.
I am a babe birthing through an unhewn arch.
I am the womb of every holt,
I am the blaze on every hill,
I am the queen of every hive,
I am the shield for every head,
I am the tomb of every hope.
Invoke, People of the Sea,
Invoke the poet that he may
compose a spell for you.
For, I am the one who sets out
letters in the ancient alphabet,
I, who part the combatants,
who arranges the letters
and speaks the secret life giving sounds.
I will approach the encampment of the Sidhe
to seek a cunning poet that together
we may fashion incantations.
I am the wind of the sea,
the wave of the sea,
the sound of the sea.
I am the one who forms smoke
from sacred fire.
I am the blaze on every hill.


Those with the gift of words have been given that gift with its responsibilities: to heal and rebalance, to give voice to the powerless and the mute, to speak truth to power.


The Bardic Role
The Celtic bard was a storyteller who would often accompany the telling of legends, news and gossip with harp playing. As there was no written literature, even after the Roman invasion, all the Celtic traditions survived only by repeated retelling. During the dark ages, some of the traditional stories and poetry began to be committed to writing by monks (mainly Irish monks), with most of the translations into English from Gaelic, Welsh and Breton being made in later centuries. The Arthurian legend is an example of a Celtic tale of heroes which was Christianized by the Church in medieval times.


Triadics
These were characteristic of bardic teaching, the number three having a mystical significance. These examples come from nineteenth century collections:
Three people hardest to talk to:
a king bent on conquest, a viking in his armour, a low-born man protected by patronage.
Three forms of rudeness:
A young man mocking an old man, a healthy man mocking an invalid, a wise man mocking a fool.
Three things that ruin wisdom:
ignorance, doubtful knowledge, forgetfulness.
Three things that come unbidden:
fear, jealousy, love.
Three keys that unlock thought:
drunkenness, trustfulness, love.
Three candles that illume darkness:
truth, nature, knowledge.


So, where are the Bards in today’s western world?
Some of the old storytelling practices are revived through re-enactment societies, individuals with historic interests or old family traditions in some rural communities. If one restricts the definition of 'Bard' to a minstrel or poet, this is the answer. The Bards become a quaint custom from the past, an anachronism with enough charm to revive periodically, or a family custom. in the case of Druidic Orders and some Hereditary traditions, there is a deeper purpose. To memorize one’s history or magical lessons through song is also part of the Bardic tradition.
Still there is the question of the newsbringer and social commentator of the past. Music, now and in the past, frequently focuses on love from some perspective, yet sometimes broaches political opinion and current events. Could the folk singers of the ‘60’s, or even more modern groups like U2 or the Sex Pistols be accused of filling the purpose of the Bard? Perhaps, but there are many who will never swallow that idea. Somehow listening to modern ‘punk’ bands scream outrage at social injustice just doesn’t have the same feel of a harpist singing lyrically about the exploits of whatever king was current at the time the song was written, yet one could say that these two versions of current events in song have a common definition.
The Bard lives on, but not in the form that once was. We still have our storytellers and minstrels within small communities, and this is how we see the Bard. Yet the Bard also lives on in the modern music and in each story we make up for a child. The Bard is the creative essence within us that gives life to the lessons we learn and express through artistic creation. The Bard lives through our rituals and through poetry. The Bard changes with the times, yet we will always think of the Bard as the harpist or lute player who tells stories of the past, which are now legends rather than current events.
Not everyone has the gift for making music, so we will continue to revere our Bards who share this gift with us. It was always so, and so it will always be. There is magic in song and in poetry. We can be sure that the magic makers will keep the Bardic tradition alive within their own magical communities, but the Bards will not be seen wandering from one village to the next to bring news again. it is for us to see the Bard in the forms that are presented to us, and to keep the magic of the old storytelling tradition alive within us and among our own families and pagan communities. The Bard is still there for us, we only have to look a little harder to recognize him both within and outside of ourselves. Still, there’s nothing quite like listening to a good Irish harpist at a Pagan conference.



WHAT IS A BARD?
"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 8BCE


In ancient times a Bard was a poet and storyteller who had trained in a Bardic college. In modern times, a Bard is one who sees their creativity as an innate spiritual ability, and who chooses to nurture that ability partly or wholly with Druidism.
In ancient times the Bards were the keepers of tradition, of the memory of the tribe - they were the custodians of the sacredness of the Word. Although they probably represented the first level of training for an apprentice Druid, we should not make the mistake of thinking that a Bard was somehow in a lowly or inferior position. There were many levels of accomplishment, but the most skilled of Bards were held in high esteem and partook of many of the functions of both the Ovate and the Druid.
The training of a Bard was intense and lasted for many years. There were variations in the curricula between Scotland, Ireland and Wales. In Ireland it is recorded that the training lasted twelve years, with students undergoing the following rigorous curriculum:
In the first year, the student progressed from Principle Beginner to Poet's Attendantto Apprentice Satirisist During this time they had to learn the basics of the bardic arts: grammar, twenty stories and the Ogham tree-alphabet.
Over the next four years, they learnt a further ten stories each year, a hundred ogham combinations, a dozen philosophy lessons, and an unspecified number of poems. They also studied dipthongal combinations, the Law of Privileges and the uses of grammar.
By their sixth year the student, if they had stayed the course, was called a Pillar and would study a further forty-eight poems and twenty more stories. Over the following three years, they were termed a Noble Stream 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 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.
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.
In Wales and Scotland the training of a bard was similarly rigorous, although with different grades and a different curriculum.


How were the Bards trained?
Bardic schools formed around a Chief Poet and their attendants. A good deal of time was spent in learning by rote, to strengthen the memory and learn the fantastic number of tales and poems required of an accomplished bard.
Records from both the Western Highlands and Ireland show that much work was undertaken through the technique we would now term sensory deprivation. Their accommodation was spartan in the extreme, and much time would be spent incubating poems and seeking inspiration in total darkness. It is only recently that we have rediscovered, through the pioneering work of John Lilly, the fertile power of the darkness found in the isolation tank.
Their curriculum shows that they were accumulating in memory a vast store of stories and poems. But this was only half their work. They were training to become masters of both Record and Inspiration. It was only one of their tasks to record the lore, laws and genealogy of the Tribe. Just as important as performing this task of keeping alive tradition and heritage, they were entrusted with coming to a knowledge of the sacred power of the Word - manifest as the ability to become inspired and to inspire others. To carry the records of the tribe they needed to know the stories and poems which preserved the lineage and the lore of their people, but to be Masters or Mistresses of Inspiration they needed to compose their own poems and tales. It was for this reason that they practised sensory deprivation, and employed the arts of invocation. Such a training naturally awoke inner powers. A powerful memory, and an ability to plumb the depths and roam the heights of consciousness in search of inspiration and the creative flame, developed within the bard an ability to see into the future and influence the world around them in a way that foreshadowed the work of the Ovate and the Druid, and which allowed them to carry the spirit of Druidry through the centuries when the light of both the Ovate and the Druid could not be seen in the world.
It is fitting that this first level or grade of Druid training should so encompass both the Ovate and the Druid work. It seems that the Druid would concur with the opening words of John’s gospel: 'In the beginning was the Word'. The way in which the word could create, command, nourish, heal, cut through, purify, invoke, unite, provoke, deter and bind was a power that the Bard in their long training came to know and utilise in the service of their patron, their King or Queen, their Druid, and their God or Goddess.


O Hear the voice of the Bard
Who present, past and future sees
Whose ears have heard the holy Word
That walked among the ancient trees...
William Blake first Song of Experience


Now that we know something of what the Bards did and how they were trained, we can ask ourselves what relevance Bardic work might have for us today.
In the training of the Order of Bards Ovates & Druids, we begin our study in Druidry with the Bardic Grade – and this is deeply meaningful. Bardism is understood in its widest sense as the development of the artistic and creative Self, and its importance as a foundation for our lives and character and spiritual development is no less significant than it was thousands of years ago, and it could be argued that it is even more essential today than it was then. The clue to understanding why this should be so lies in the realisation that the historical Bards worked with Record and with Inspiration. one of the prime reasons for modern humanity’s sense of alienation lies in the fact that we have cut ourselves adrift from both the natural world and from the roots of our past. Practising Druidry is about healing this alienation - reconnecting to our past and to the world of nature. In the Bardic grade we open ourselves to the inspiration of the natural world, and we allow the mandala of the Eightfold Seasonal Cycle, explained in the next chapter, to be grounded in our beings. Working with Record means working with heritage, lineage, and the mythology and stories of the tribe – it helps us reconnect to the past.
Working with Inspiration means opening ourselves to our innate creativity. Many of the problems that we suffer from in the developed world result from our suppression and denial of the artistic - in all its forms. Modern brain research shows that for most of us, our primary mode of functioning comes from the dominant cerebral hemisphere, which mediates the function of analytical thinking. The opposite hemisphere has less of a say in our current way of living - it is the hemisphere that mediates the synthesising, non-analytic forms of thought and expression: it is the part of the brain considered responsible for artistic expression. It is generally agreed that to become complete we need to allow both sides of ourselves adequate opportunities for development and expression. This truth was expressed by the Alchemists (and there is a strong tradition of Alchemy within Druidry) and later by Carl Jung (whose work first began to influence modern Druidry through Ross Nichols). Jung developed his theory of the personal animus and anima - male and female aspects of the psyche - which for our development need to relate and periodically conjoin. Alchemists knew of the importance of this conjunction, and they termed it the Mystical Marriage or the Mysterium Coniunctionis.

Our education has, for the most part, concentrated on developing our skills of analytical and mathematical thinking, but when we enter the Bardic Way, we begin a process that develops our less dominant hemisphere. We open ourselves to the artistic, the creative self. This is no simple task, and in a way typical of Druidry, the work is undertaken in an apparently round-about way. Through working with the eightfold festival scheme, and with the power of the four elements that are allocated to the cardinal points in the sacred circle of Druid working, the Bard is brought to a stage where they have acknowledged and worked with the four aspects of their being - represented by Earth, their practicality and sensuality; Water, their receptivity and feelings; Air, their reasoning; and Fire their intuition and enthusiasm. As these four elements and parts of the Self are explored and harmonised, the Bard finds him or herself naturally opening to their inner creativity. Gradually the resources of their body and heart, mind and intuition become more fully available to guide and inspire them.
By working in this way, we learn to by-pass the rational mind, which so loves to create limits to understanding. To be able to operate, the intellect creates distinctions, categories, mental constructions - through which experience can be comprehended and acted upon. This is essential for our survival and progress in the world. The problems arise when this ability to create frames of reference is not counter-balanced by the ability to transcend these frames and open oneself to the trans-rational - the inexplicable-in-words-but-no-less-true. Poetry and music are supremely competent at helping us to go beyond frames and viewpoints. Sound - spoken, sung or played - stretches our boundaries, opens horizons, invokes energies that the intellect alone cannot grasp or categorise with its workings. Here is the power of the Bard - to dissolve our boundaries, our frames of reference - even if only for a moment.

Take this poem, by the modern Bard Jay Ramsay:

Fathomless unknown,
Behind and in everything -
Valley - kestrel - celandine:
You nowhere, and in everything -
And being nothing, being silenced,
Being unable to speak
You see everything,
And I see You
And I see I am
The core I am seeing:
The sun closening
To meet the man
Who has crossed the line,
Who has walked out of himself
Stands ahead there,
Naked in the light.

One's mind cannot fully grasp the power of such a poem - one is impacted by the force of the words and imagery in a way that defies description or explanation. This is the work of poetry - of the bard. To go beyond. To travel. To bring back. Professor Michael Harner, a world authority on shamanism, speaks of the shamanic way as one which is best defined as a method to open a door and enter a different reality . This is precisely what happens with powerful and effective poetry.
The difference between 'secular' poetry writing, reading and reciting and the same activities undertaken in the spirit of bardism is that in the latter this shamanic process is consciously acknowledged and worked with. Creativity and inspiration are seen as gifts of the Gods, as powers entering the vessel of the Self through the Superconscious. Appropriate preparation, ritual, visualisation, prayer and meditation create the channels through which such generative, creative power can flow. In Druidry this power is known as Awen, which is Welsh for ‘Inspiration’ or ‘Flowing Spirit’.
The relevance of this work to the contemporary artistic scene is clear: when art became secularised what it gained in freedom of expression, it lost in depth of inspiration. Now we have turned full circle and are able to spiritualise our art once again - freed at last from the limitations of religious dogma. The potential for enhanced creativity is immense when we recontextualise our creativity in terms of the sacred. Previously this involved being bound by Christian themes and dogma. Now it means recognising the sacredness, not only of the Spirit, but of the Earth, and the four elements, and of our body and sexuality too.
The Bardic stream is not simply a body of knowledge we once possessed and which we attempt to regain - it is a spiritualised mode of artistic creative consciousness which is dynamic and living - the future holds as much, if not greater promise than the past.
In addition to reciting poetry and story-telling, the Bards undoubtedly made music and danced. There are intriguing stories of Druid dances remembered in Brittany, and it is possible that traces of this early sacred and celebratory dancing is contained within Morris dancing, the Abbot's Bromley Horn dance and other folk dances. Our challenge is to rediscover the music, chants and dances of the Druids - by contacting the archetypal sources of inspiration within. These sources are transpersonal and out-of-time. They fed the Druids in the past and they can feed us now. We know some of the instruments they probably would have used: in the early days of animistic proto-Druidry they would most likely have used flutes made from birds’ bones (eagle bone flutes have been found in Scotland). They would probably have banged stones on hollow ringing rocks, which produce a bell-like sound. The Dord, a form of horn, with a sound like the Australian Aborigine's didgeridoo was clearly a sacred instrument of the Bronze Age, as were almost certainly an animal-skin drum which later evolved into the bodhran, and the claves - two sticks of wood banged together to produce a rhythm alone or counterpoised with that of the drum.
In common with oral indigenous spiritual traditions the world over, the ancient Druids encoded their teachings in story form. The Bards learnt these stories and were therefore able to preserve the memory of the teachings across the centuries, despite the fact that they were never written down. Fortunately for us, the Christian scribes recorded these tales, and even though some details may have been omitted or distorted, we can still discern the teachings of the Druids encoded within them. one such story is the Tale of Taliesin, which recounts the progress of a young boy who eventually becomes the finest Bard in the land. He does this by drinking three drops of Awen – inspiration – from the cauldron of the Goddess Ceridwen.
The tree which represents the Bardic Grade is the Birch - appropriately it is the first tree of the Druid’s Ogham tree-alphabet, and the tree which represents new beginnings, pioneering and giving birth. The West is the place of the Bard. It is from the West that we enter the circle in Druid ceremonies, and the West is therefore the place of Entrance, of beginnings - the receptive, feminine West that faces the East of the Dawn Ray. The times associated with the Bardic Grade are the Spring, and Dawn - times when we are fresh and ready to begin a new cycle of learning and experience.




WHAT IS A OVATE?
The earliest Latin writers used vates to denote "prophets" and soothsayers in general; the word fell into disuse in Latin until it was revived by Virgil.
According to Strabo, Diodorus Siculus and Poseidonius, the vates (ουατεις) were one of three classes of Celtic priesthood, the other two being the druids and the bards. The Vates had the role of seers and performed the sacrifice, under the presidence of a druid. Their role was therefore corresponding to that of an Adhvaryu in Vedic religion. Celtic Vates is continued by Irish fáith "prophet, seer".

'To you alone it is given to know the truth about the gods and deities of the sky...The innermost groves of far-off forests are your abodes. And it is you who say that the shades of the dead seek not the silent land of Erebus and the pale halls of Pluto; rather, you tell us that the same spirit has a body again elsewhere, and that death, if what you sing is true, is but the mid-point of long life.'
Lucan Pharsalia c.60 CE

In ancient times an Ovate /Vate was a prophet, seer, healer and diviner and the priest or spiritual leader of the people. In modern times, an Ovate is one who studies or practices herbalism, healing and divination within a Druidic context, or who has entered the Ovate level of training within a Druid Order.
Lucan, in the above quotation, is addressing Druids generally, but it is an appropriate quotation to open our study of the Ovates, for it was they who, to the greatest degree, were responsible for understanding the mysteries of death and rebirth, for transcending time - for divining the future, for conversing with the Ancestors - travelling beyond the grave to bring augury and counsel to those still living on earth.
If the Bards were shamans in Michael Harner's understanding of the term because they opened doors with the power of the Word, then the Ovates deserve the term shaman even more so - for they open the doors of Time.
From a study of the classical authors, a general categorisation of the three different grades accords the arts to the bards, the skills of prophecy and divination to the Ovates and philosophical, teaching, counselling and judicial tasks to the Druid.
The Ovates, then, were seers and diviners, travellers in Time, and it seems likely that they were also healers, herbalists and midwives. The English word ‘Ovate’ comes from the various terms used by the classical writers: Vates, Uatis, Euhages, which may derive from the Indo-European root uat, ‘to be inspired or possessed’. The classical author Strabo described the Ovate as ‘an interpreter of nature’. It was the Ovates who were skilled in reading omens and divining auguries – whether from the flight of birds, the shape of clouds, or the behaviour of animals or the weather – and it was the Ovates whose task it probably was to heal, using their knowledge of herbs and spells to cure disease in humans and livestock. The Ovate seems, in many ways, to conform to the type of person most people would describe as a Witch, and it is certainly possible that when Druidry went underground with the coming of Christianity, the Ovate stream may have become a source that fed later generations of healers and followers of the Old Ways, until they came to be known as the Cunning Folk– healers who could still be found in villages in Britain up until the 1930s. And it is quite possible that these Cunning people were in fact the Witches of modern popular perception.
The Ovate as master or mistress of prophecy and divination needed, and still needs today, a reorientation in relation to Time. To travel within time - to read the Akashic Records as some would term it, requires a conception of its nature and dynamics that is radically different to post-Enlightenment thinking, and more akin to the understanding now being offered by the New Physics.
The belief in the cyclicity of life, was fundamental to the world-view of the ancient Druids. In common with the Hindus, the Druids believed in reincarnation. Caesar, in De Bello Gallico says of the Druids:'The cardinal doctrine which they seek to teach is that souls do not die, but after death pass from one to another; and this belief, as the fear of death is thereby cast aside, they hold to be the greatest invective to valour.' Diodorus quotes Posidonius when he says that the Druids held that 'the souls of men are immortal, and that after a definite number of years they live a second life when the soul passes to another body.' And Philostratus of Tyana in the second century noted that the Celts believed that to be born in this world, we have to die in the Otherworld, and conversely, that when we die here, our birth into the Otherworld should be celebrated.
Now we can understand how the Ovates were able to conceive of time-travel. The Realm of the Ancestors was not the realm of people dead-and-gone - it was the repository of tribal wisdom - the realm in which the Ancestors lived whilst awaiting reincarnation and to which the Ovate could turn for guidance and inspiration on behalf of the tribe. The experience of the shaman is one in which they undergo some type of death but return to life - only this time knowing the inner soul-geography. In the past, this experience of returning to life from the realm of death was a rare occurrence. Today, with sophisticated techniques for reviving the body the experience is becoming more frequent. A growing academic interest in the subject means that we now have an enormous amount of data on these near-death experiences. Out of the thousands of such experiences recorded a clear pattern of experience emerges: the dying person experiences cracking, clicking, or rushing noises, or sometimes wonderfully harmonious sounds; this is followed by an experience of leaving the physical body - observing their physical body and surroundings from a distance; they then feel themselves drawn through a dark tunnel out of which they emerge into brilliant light. This light assumes an almost personal quality and frequently encounters occur with spiritual helpers or protective beings and the Ancestors - friends and relatives who have died previously. There then often follows a rapid review of their life in which they realise instantly where they acted rightly or wrongly. This experience of self-judgement is followed by an entry into a state of being in which past, present and future merge into one reality - a world filled with ecstasy, radiant colours, and immensely beautiful landscapes.
We know nothing more, with such certainty, of the post-death state for those who reach this realm of beauty are then brought to a Being who tells them that they must return to their body - their visit, this time, has been only temporary.

What does this tell us of the Ovate work?
Firstly that the realm of the Ancestors does exist, and that it can provide support and guidance. Secondly that a realm exists in which our experience of time is transcended, or fundamentally changed. It is to these realms that the shaman travels, to bring back guidance from Past Souls and insights into the future.
In megalithic times the early Druids were probably not distinctively classed into three branches of learning. The Druid shaman would probably have been the doctor and priest and repository of tribal lore all in one. The bones found in the chambered cairns such as West Kennet Long Barrow near Avebury would almost certainly have been used ritually in the way bones have been throughout the world, to summon the protection of the dead, to ward off evil and to offer augury.
It is the Ovates particular connection with the Other World, with death, which makes them officiants in the rite of Samhuinn - the feast for the departed on 31st October. But it is only in the naive imagination that this concern with death is viewed as morbid, for in reality the Ovate is concerned with new life, with regeneration. They know that to be born they have to die - whether that means in the literal sense or in the figurative sense, as a death to one way of being to be reborn to a deeper experience of being alive.
In working with the processes of death and regeneration, the Ovates particular study is - fittingly - tree-lore, herbalism and healing. The plant world is a great teacher of the laws of death and rebirth, of sacrifice and transmutation, and the tree is the supreme teacher of the mysteries of time, with its roots for the most part invisible in the past and the subconscious, and its fruit and leaves likewise mostly hidden from us in the heights of the superconscious - holding the potential of the future in the seeds that will in due time fall.
The art of healing concerns the application of natural law to the human body and psyche. If the heart, mind or body is out of tune with nature we suffer. The application of natural remedies - with plants, with the four elements, with solar, lunar and stellar power are studied by the Ovate. Knowing that it is only through death to one state that we achieve a wider life, the Ovate is in this sense also a psychotherapist. The Ovate learns and teaches that it is often only by letting go, rather than holding on, that we truly find what we have been seeking.
How is the Ovate Way of relevance to us today? The fact that many healers - of both body and soul, find Druidry helpful lies in its ability to open the Self to something more than just the personal. The story of psychotherapy illustrates this point, and suggests that we can place Druidry, and the work of the Ovates in particular, at the leading edge of psyche (soul) therapies.
Psychotherapy as a form of healing began by discovering the value in opening up communication between the different parts of ourselves – within our intra-personal world. Healing occurred, for example, when our sexual selves were able to relate more openly with our rational cultivated selves; or when our hearts were able to speak freely to our minds. But this was found to be insufficient - for not only do we need to have successful communication between the different parts of ourselves, we also need effective communication with those around us, in our inter-personal relationships. Group therapy was born. More healing occurred as we shared our fears and joys with others - discovering our common humanity and our unique differences. But more was needed - we could resolve a good deal of our intra-personal and inter-personal difficulties, but we were still haunted by 'existential neurosis' - we needed to move beyond the personal to the transpersonal, to find our place in existence by going beyond the Self. The spiritual psychologies were born. They opened up the channels of communication not only between ourselves and others, but also with our Overself, our Transpersonal Self and with the Divine.
By now it looked as if psychotherapists had covered every base - we had been put back into relationship with ourselves, with our fellow humans and with our sense of the Divine or Spiritual. But to many therapists’ surprise the existential neurosis and sense of alienation often continued for their clients, because in all this therapy they had inadvertently been guilty of 'speciesism': they had ignored our relations with the rest of nature. We may have successful communication with humanity and God/dess, but what about with our home, the Earth - with the stars and sky, with animals and trees? The Druid argument, and the argument of all earth religions, is that we can only be fully healthy, fully whole physically and psychologically and indeed spiritually, when we are in communion with all of nature.
The walls of the consulting room and the church collapse... client and therapist, patient and analyst, confessing and confessor, walk away from the debris, remove their clothes and immerse themselves in the pool that stands before them in the light of the sun. only then are they whole. only then can they claim that the healing is complete.
We now have an insight into the healing power that Druidry can bring, and the way in which this can be mediated by the Ovate with their knowledge of herb, tree and animal lore and their ability to commune with the spirits of the departed. But what of their divinatory skills?
Understanding the hidden dynamics of Time and knowing the reality of the spirit worlds enables the Ovate to divine without the interference of the rational mind. This mantic work falls into three categories: augury - which is the making of predictions based on signs and omens; divination - which uses particular methods for finding hidden things - whether they be 'intangibles' such as future events or 'tangibles' such as water or metal; and prophecy - which needs no outer methods but which depends on the Ovate's ability to channel higher wisdom in relation to future events.
The methods of augury used in the past were many: from simple weather-witching to sophisticated interpretation of bird flight - from the observation of animal behaviour to the interpretation of planetary configurations. Almost certainly each of the four elements was used for augury, as they were used for healing. It is likely that the signs and associated feelings conveyed by earth cast on a sheet or drum-skin were read as a modern fortune teller might read the tea-leaves or in Eastern Europe the coffee-grounds, and the shapes of passing clouds or of the images found in the fire or in gazing into pools of water were undoubtedly further sources of inspiration. We know the term the Irish Druids used for cloud divination – Neldoracht – and we know too of more complex methods of divining used in Ireland, including Tarbhfeis, which involved the diviner being wrapped in a bull’s hide to aid their clairvoyance.


The Druid took four wands of yew and upon them he wrote Oghams, and by his keys of poetic wisdom and through his Ogham he divined that Etain was in Bri Leith
with Midir.
Tochmarc Etaine
Divination is a more sophisticated form of augury. It need not be simple fortune-telling - an attempt to see into the future. It can be an effective means of revealing hidden dynamics - whether they are within oneself or within a relationship, or within a group. Divination then becomes a means of gaining self-knowledge and a deeper understanding of the hidden causes behind appearances. Seen in this way it becomes yet another way that we can try to go beyond the surface, to plumb the depths, to look at causes rather than effects. Modern day Ovates are able to turn in this quest to a number of distinctly Druidic methods of divination, including working with the sacred animals of the Celtic and Druid tradition and working with Ogham, which has come to be known as the sacred tree-alphabet of the Druids. It is claimed that the Druids used Ogham for divination. Medieval Irish stories, such as the Tochmarc Etaine suggest that this was so, even though actual inscriptions in Ogham, found on stones, have only been dated to the fourth and fifth centuries. Although from the historian’s point of view we cannot be certain that the ancient Druids used Ogham, it certainly provides us today with an evocative means of understanding hidden dynamics and future events, and has become an integral part of modern Ovate training.
However it is not only the divination of the subtle, intangible realms of the psyche and the future that is the field of Ovate study. Divination can be carried out for tangible things - for water and for metal, for items lost or deliberately hidden, and traditionally the Ovate divines with a wand of hazel. Water sources were always accorded special reverence by the Druids - not only were they naturally dependent on a good supply of drinking water, but springs were revered because they demonstrated the source of life springing up out of the body of mother-Earth, and they were seen as access points to the Otherworld.
The Ovate, with their divining skill would have been used to find water sources and sources of metallic ore, for this was important to the Celts who used both bronze and iron. The Druid, in their capacity as Pheryllt, or Druid Alchemist, worked the metals that the Ovate found in a raw state in the earth. And here we perceive another function of the Ovate - to seek out and find what is hidden. We can surmise that it was the Ovates’ function in the past, and can still be today, to find the sacred groves in which the Druids work. Likewise it is the Ovate who finds the wisdom of the Spirit, plant and animal world and brings it back for the benefit of all. It could even have been the Ovate in this aspect of their work who was responsible for finding criminals and stolen property or missing bodies. As ‘discoverer of the hidden’, the Ovate might have been the detective as the Druid was the magistrate or judge.
Finally we learn that prophecy was a function of the Ovate. Here the Ovate needed no outer form to help them find what was hidden. Their years of training as a Bard, then as an Ovate, their ability to commune with the spirits, their refinement of their being and their attunement to the world of nature meant that at certain times they could prophesy - predicting the future or warning of possible dangers so that they could be avoided. Merlin is seen in his Ovate role when he utters the prophecies compiled by Geoffrey of Monmouth in the twelfth century.
The ability to prophesy should be understood in its widest sense within the Ovate work. The Bard learns how to open themselves to transpersonal creative energies to provide inspiration and integration. The Ovate builds on this connection with the inner world and combines it with an ability to negotiate time-tracks, so that they can also channel transpersonal creative energies. These channellings may take the form of prophecies - in the sense that they deal with that aspect of time which we term the 'future' - or they may deal with hidden levels of reality and causation that require elucidation and communication.
The Ovate curriculum is vast indeed. Just as the Bard needed years of training, so did the Ovate, although we have no details of this from the classical authors. When Druidry went underground with the triumph of Christianity, the Bards suffered the least - they simply pretended to be 'mere' minstrels and poets all the while carrying the tradition in their hearts and hidden in their words and music. The Ovates undoubtedly continued their work as healers and herbalists - keeping the tradition alive though in a more discreet way, becoming eventually perhaps the Cunning Folk or ‘White Witches’ who acted as local doctors for those too poor – or too wise – to consult the nearest leech, charlatan or quack.
Today, those who study the Ovate learn to work with the powers of Nature – they learn the Ogham and come to know the trees as living Beings with their own medicines and gifts. They work with the sacred animals of tradition, and with different methods of divination, and many begin a study of herbalism or other methods of healing, and in particular they learn how to encourage the flow of Nwyfre through the body. Nwyfre is the Druid term for Life-force, known as Chi’ or Prana in the East.
The tree which represents the Ovate Grade is the Yew - the tree of death and rebirth, of eternity. The North is the place of the Ovate, for it is the Grade in which we learn of 'The spiritual intelligence of the night' [The Book of Taliesin] when we understand the mystery that the spirit is reborn in the place of greatest darkness. The times associated with the Ovate Grade are Autumn and Winter, Evening, dusk and midnight - times when we assimilate the experience of the day or the year, and when we are nourished by the great depths of the Unconscious.




WHAT IS A DRUID?
'Often when the combatants are ranged face to face, and swords are drawn and spears bristling, these men come between the armies and stay the battle, just as wild beasts are sometimes held spellbound. Thus even among the most savage barbarians anger yields to wisdom, and Mars is shamed before the Muses.'
Diodorus Siculus Histories c.8 BCE
In ancient times a Druid was a philosopher, teacher, counsellor and magician, the word probably meaning ‘A Forest Sage’ or ‘Strong Seer’. In modern times, a Druid is someone who follows Druidry as their chosen spiritual path, or who has entered the Druid level of training in a Druid Order.
The reason we tend to visualise the Druid as an old man in our imagination is partly due, perhaps, to a realisation that by the time one has undertaken the training of Bard and Ovate one is bound to be ancient! We cannot be sure of the exact time it took, but Caesar mentions that some spent as long as twenty years in their education at Druid colleges. But this is really little different to the time young people now take to complete their education, and Caesar’s account is reminiscent of the situation of monastic schools in Europe and as far afield as Tibet, where young people would go or be sent for a complete education: free from the burden of taxation or military service and “instigated by such advantages, many resort to their school even of their own accord, whilst others are sent by their parents and relations.” Commentators point out that ‘twenty years’ could have been a figure of speech to denote a long duration of time, or that it might have actually been 19 years, since the Druids almost certainly used the Metonic Cycle, a method of reckoning based on the nineteen-year eclipse cycle.
If the Bard was the poet and musician, the preserver of lore, the inspirer and entertainer, and the Ovate was the doctor, detective, diviner and seer, what was the Druid? Their functions, simply stated, were to act as advisor to rulers, as judge, as teacher, and as an authority in matters of worship and ceremony. The picture this paints is of mature wisdom, of official position and privilege, and of roles which involved decision-making, direction and the imparting of knowledge and wise counsel.
We tend to think of the Druid as a sort of priest - but this is not borne out by the evidence. The classical texts refer to them more as philosophers than priests. At first this appears confusing since we know they presided at ceremonies, but if we understand that Druidry was a natural, earth religion as opposed to a revealed religion, such as Christianity or Islam, we can see that the Druids probably acted not as mediators of Divinity, but as directors of ritual, guiding and containing the rites.
In addition to this, we know that they fulfilled a number of other functions, which we shall now examine. Separating these out is for the sake of convenience only, for in reality the roles often merged and combined, as we realise when Caesar tells us "They have many discussions as touching the stars and their movement, the size of the universe and of the earth, the order of nature, the strength and the powers of the immortal gods, and hand down their lore to the young men." Here we see the Druids as scientists - as astronomers and mathematicians, as philosophers discussing the powers of the gods, and as teachers passing on their wisdom.

Druids as Judges
'The Druids are considered the most just of men, and on this account they are entrusted with the decision, not only of the private disputes, but of the public disputes as well; so that, in former times, they even arbitrated cases of war and made the opponents stop when they were about to line up for battle, and the murder cases in particular were turned over to them for decision.'
Strabo Geographica

'It is they who decide in almost all disputes, public and private; and if any crime has been committed, or murder done, or there is any dispute about succession or boundaries, they also decide it, determining rewards and penalties: if any person or people does not abide by their decision, they ban such from sacrifice, which is their heaviest penalty.'
Caesar De Bello Gallico

It is natural that those people perceived as the wise elders of the community should be turned to for judgement and arbitration in times of dispute or when a crime has been committed, and some of the most interesting information about the ancient Druids can be found in the old Irish laws, known as the Brehon laws. Irish texts tell us that in 714 BCE the High King Ollamh Fódhla formalised the legal system by founding the Festival of Tara, at which every three years the laws already in existence were discussed and revised: and we know some of the names of the more prominent Druid judges of old, including a female judge named Brigh, a male judge named Finnchaemh, and Cennfaela, the Druid of King Cormac, who in the third century CE was said to be the most learned judge in Ireland. Peter Beresford Ellis, in his book The Druids, says: “the Irish system is the oldest surviving complete codified legal system in Europe with its roots in ancient Indo-European custom and not in Roman law, and is therefore the oldest surviving Celtic system of jurisprudence, and one in which the Druids are still mentioned.” Fortunately for us these laws have been recorded - set down in writing as early as the fifth century, according to some sources. Even as late as the seventeenth century some aspects of the Brehon code survived in Ireland, despite attempts by the English to suppress it. Charles Graves, the grandfather of Robert Graves whose book on Ogham The White Goddess was seminal in the revival of interest in Goddess worship and Paganism, was an expert on Ogham and on Brehon law. He initiated a Royal Commission to transcribe and translate this treasure-trove of information, which was published in six volumes between 1865 and 1901.
Reading the Brehon laws today offers us an opportunity to enter into the minds of the early Druids – and to many peoples’ surprise, rather than discovering the beliefs of a primitive and savage people, we find a highly considered system that is mostly based upon ‘Restorative Justice’ – a concept that is found, for example, on the other side of the world amongst the Maoris of New Zealand . Restorative justice is concerned with compensation rather than revenge - the offender rather than simply being incarcerated is made to make good the damage or loss they have caused the victim. This picture was marred somewhat in Ireland by licence being given for vengeance killings, but these were allowed only in response to the murder of family members, and limits were exerted on retaliation. Undoubtedly we are seeing here an attempt to control situations that could so easily escalate.
As we would expect from Druid lawmakers, severe penalties resulted from the unlawful cutting down of trees, with important trees such as oak and yew being designated ‘Chieftain trees’ and carrying greater demands for compensation than ‘Peasant trees’. And when it came to marriage and divorce the Brehon laws were more humane than the later Christian laws. In the times of the ancient Druids, a woman could divorce a man for a number of reasons: if he was so obese he was unable to make love, for example, or if he preferred to sleep with men, if he beat her leaving visible marks, or if he spread malicious stories about her . Under the Christian post-Druidic law in Ireland, divorce was illegal until 1995 – even if a husband or wife was physically abusive.
The Brehon laws offer us the most complete view of the kind of society that the ancient Druids helped to guide and lead. We have information from Wales too, but the old Welsh laws known as the ‘Laws of Hywel Da’ were recorded much later than the Brehon laws and offer us less insight into the world of the Ancients.

Druids as Teachers
'A great number of young men gather about them for the sake of instruction and hold them in great honour....... Report says that in the schools of the Druids they learn by heart a great number of verses, and … they do not think it proper to commit these utterances to writing, although in almost all other matters, and in their public and private accounts, they make use of Greek letters.'
Caesar De Bello Gallico

It is clear from both the classical and the Irish sources that one of the main functions of the Druid was as a teacher. This involved teaching at both an esoteric and an exoteric level. Caitlin Matthews offers the image of the Jewish rabbi to help us picture how a Druid might have lived and worked. She or he was: 'a man or woman of wisdom whose advice was sought on all matters of daily life, one who perhaps also fulfilled a craft, one who was married and had a family, one who brought the people together for common celebrations and whose word was law. Like the Hasidic rabbis who practised qabbala and were known as seers and wonder-workers, so too, the druid was a person of unusual skills. .... From the various Celtic accounts, we find that a druid usually had one or more students attached to his retinue or household. Again, to return to our Jewish parallel, a rabbi would often run a Talmudic school for anything from a handful to a number of students. Similarly, druidic students learned from their masters and mistresses.'
While some Druids may have simply had one or two students living with him, helping, presumably, with the household routine in return for training, others gathered around them sufficient numbers of disciples to form a veritable college of Druidry. In Ulster, for example, it is recorded that Cathbad, one of King Conchobar's Druids, was surrounded by a hundred students.
What would they have learned? Just as the monastic orders later became the centres of learning, the Druid colleges, large and small, were in charge of the whole spectrum of education from the teaching of general education to that of philosophy, from the teaching of law to the teaching of magic, from the teaching of healing skills to the teaching of the correct order of ceremonial.
We also know that Druids acted as tutors to the children of kings, queens and nobles, and that students would be sent from one Druid teacher to another to learn different skills. Caesar tells us that Druidry originated in Britain, and that students were sent from Gaul to Britain for training. They were sent to the fountainhead of Druid culture - to imbibe at its source: "It is believed that their rule of life was discovered in Britain and transferred thence to Gaul; and today those who would study the subject more accurately journey, as a rule, to Britain to learn it."
It is intriguing to think that the earliest recorded systems of education and law in Britain and Ireland are Druidic. When this is properly recognised, perhaps we will see the statue of a Druid outside the law courts in Dublin and London, and murals in schools or Departments of Education depicting Druids teaching within groves of trees.

Druids as Kings and Advisors to Kings & Queens
There is evidence that some kings were also Druids. The Druid Ailill Aulomon was King of Munster in the first century CE and it is recorded that three Druid-kings ruled in "the Isle of Thule" . Thule was the name given to Iceland, and here lies the fascinating possibility that Iceland was a kingdom once ruled by Druids - long before its Viking conquest. The official history of Iceland states that the first Norse colonisers, arriving in 874 CE found and drove away a few isolated Irish hermits, who had journeyed there via the Faroe Islands. But recent work on Icelandic blood-group types shows them to have a greater similarity to those of Ireland than of Scandinavia. This leads one to agree with those historians who claim that Iceland had in fact been colonised by the Celts long before the Vikings arrived. This claim gains further support when we learn that the only extant manuscript source of information that we have about the Nordic pagan cosmology, the Edda, was written in Iceland and not in Scandinavia. The manuscript looks remarkably like the early Irish manuscripts of the same period, and it is tempting to see the Vikings of Iceland being persuaded to record their cosmology by Irish Druids, or their descendants.
To return to Britain and Ireland, when Druids were not kings, they were advisors to kings, queens and chieftains, and were accorded such status that they were often the first to speak at official functions. At the court of Conchobar, King of Ulster, for example, no one had the right to speak before the Druid had spoken.

Druids as Scientists and Inventors
We know that the Druids concerned themselves with what we term today the sciences. To what degree their mathematics was numerology, their chemistry alchemy, their astronomy astrology, we will never know. But we do know that the building of the stone circles required sophisticated measuring, calculating and engineering skills, and that this same building depended upon a knowledge of the movement of the heavens to such a degree that the very earliest of proto-Druids were clearly skilled astronomers.
The work of John Michell, Sir Norman Lockyer, and Professors Hawkins and Thom amongst others shows us that these men were scientists indeed - creating giant astronomical computers in stone.
Some writers have even suggested that the Druids might have invented the telescope, basing this idea on the statement of Diodorus Siculus, who said that in an island west of Celtae the Druids brought the sun and moon near to them, and on the statement of Hecataeus who tells us that the Druids taught of the existence of lunar mountains.
Others have suggested that they discovered gunpowder, but like the Chinese, used it for special effects rather than warfare. John Smith in his Gallic Antiquities of 1780 wrote:
"Among the arcana of nature which our Druids were acquainted with, there are many presumptive, if not positive, proofs for placing the art of gunpowder, or artificial thunder and lightning; though like all other mysteries, they kept the invention of it a secret."
There is no hard historical evidence for this suggestion, but it is delightful to think that the Druid would amaze and entertain his entourage with fireworks, as does the Druidic figure of Gandalf in Tolkien's Lord of the Rings.

CONTINUED..

Druids as Alchemists and Metal-workers
While they may or may not have experimented with fireworks, they certainly worked with fire and with metals. And this work was undoubtedly alchemical. Since fire, like water, was and is considered sacred by all those with a spiritual understanding of the natural world, we can be sure that the Druids were masters and mistresses of fire. Their esoteric work with fire is a matter of inner knowledge - for it deals with their ability to relate to and work with the sacred fire within the body as well as within the grove. The fact that the Goddess Brighid is goddess of healing and poetry and both fire and water, provides us with the key to understanding the connection between the inspiration sought by the Bards, the healing developed by the Ovates and the alchemical work of inner healing and inspiration performed by the Druids. Contemplating this one idea reveals the depth of the Druid Mysteries, the nature of its teaching and its relevance for us today.
Metalworking in early societies was also considered a sacred art - for upon it depended the tribe's ability to defend itself and to gain food from the earth or from animals. The Welsh tradition states that a branch of Druids, known as the Pheryllt, worked as metallurgists and alchemists in the magical city of Emrys in Snowdonia. This 'ambrosial city' was also known as Dinas Affaraon, the 'city of the higher powers'.
The Druid as metalworker would have forged the swords for the warriors and nobles, which would have been imbued during their casting and annealing with magical spells designed to protect the bearer and ensure them victory.
The sword figures largely in the Druid mythos: It emerges out of the two fixed elements of water and earth in the Arthurian legend: being pulled out of stone by Arthur, and being raised mysteriously out of the Lake when needed. It is born in fire with the skill of the Druid-Alchemist, and it is raised in the air during the Order's Beltane ceremony, as the Sword-bearer cries: "Behold this sword Excalibur, which rose from the lake of still meditation and was returned to it again. The sword of spirit, of light and truth, is always sharp and always with us, if our lake be stilled." At a spiritual-psychological level, the sword represents the Will. When the Will is not aligned to our higher values and purpose it runs amok - and the sword becomes the weapon which maims and destroys. When it is aligned with higher purpose it becomes the sword of spirit - a representation of our ability to be spiritual warriors in a world filled with difficulties which require the warrior spirit to overcome them. In the Druid circle the sword is placed in the South, just as the wand is placed in the East, the cup of water in the West, and the stone in the North.
We can surmise too that the Druids as metalworkers would have cast the sacred cauldrons. Just as the sword represents the 'male' directive qualities of mind and spirit, so does the cauldron represent the 'female' inclusive qualities of heart and soul. And just as the sword figures largely in Druid ceremonial and mythology, so too does the cauldron - representing, at its roots, the origin of the grail symbol.

Druids as Peace Makers
Druids and the Druid philosophy have long been associated with the idea of Peace. Classical writers, such as Julius Caesar and Diodorus Siculus, spoke of the way in ancient times Druids were exempt from military service, and did not bear arms, and how they often pacified warring tribes, passing between the massed ranks of opposing forces urging peace:
‘For they generally settle all their disputes, both public and private… The Druids usually abstain from war, nor do they pay taxes together with the others; they have exemption from warfare.’(Caesar)
Today, every Druid ceremony begins with a call to Peace towards each of the Four Directions. The Druid performing this function faces North, South, West then East calling out “May there be Peace in The N/S/W/E” As they do this they feel peace emanating from the Druid circle out into each direction of the world. Finally all participants say “May there be Peace throughout the whole world.”
Druids in ancient times worked in Sacred Groves, and today they still do - whether these are physical ones, or whether these have been created in the Inner World through meditation. These groves are seen as places of peace and tranquility that radiate these qualities out to the world. Druids often sign their letters or messages ‘Yours in the Peace of the Grove’, and the Order has begun a programme of planting Peace Groves throughout the world, with the first ones planted in Jerusalem and Northern Ireland.

Deep within the still centre of my being
May I find peace.
Silently within the quiet of the Grove
May I share peace.
Gently (or powerfully) within the greater circle of humankind
May I radiate peace.



Druids as Philosophers
'Some say that the study of philosophy was of barbarian origin. For the Persians had their Magi, the Babylonians or the Assyrians the Chaldeans, the Indians their Gymnosophists, while the Kelts and the Galatae had seers called Druids….'
Diogenes Laertius Lives of the Philosophers c.250 CE
In examining the roles of the Druid as teacher and judge, king and advisor to kings and queens, scientist and alchemist, we must remember that behind each of these functions the Druid was at heart a philosopher. His or her concern was with the meaning and purpose of life on earth, and it was for this reason that Strabo wrote "...the Druids, in addition to natural philosophy, study also moral philosophy".
We know a little of early Druid philosophy. A study of the old Irish and Welsh laws, developed by the Druids, can provide us with a glimpse into the ethical foundations of early Druid philosophy. In addition we can turn to the triads of Ireland and Wales, which – although often of disputed origin, and clearly influenced by Christianity – provide further material. The Classical writers say that Druid philosophy was influenced by Pythagoreanism, and if this is so, we can start to build a fairly comprehensive picture of the philosophy of these forest sages. But the picture does not stop there, because as we have seen in the earlier chapters, Druidry has grown and evolved constantly over the centuries – on its way absorbing or drawing on many influences. In the early days these came from Greece and Rome, and perhaps Egypt and India too. Later, during the Revival Period, the ideas of the Romantics found their way into modern Druidry.
In the early years of the twentieth century it adopted many of the ideas of the Western Mystery Tradition, which originated in Classical Greece, Babylonia and Ancient Egypt. And in addition, until the 1970s, Druidry was influenced by Universalism, which attempted to trace the universal themes in all religions. Theosophy was likewise driven by Universalist aspirations, and many Theosophists became interested in, and undoubtedly influenced, Druidism.
Into the historic picture we are building, we must add the most recent influences on the development of modern Druid philosophy. In the 1940’s and 50’s Ross Nichols became interested in the depth psychologies of Freud and Jung, and partly inspired by their insights, he saw in Druidry a way of helping modern humanity reconnect with Nature and the Gods. The problem of modern civilisation, as he saw it, was that humanity had become alienated from the land and the seasonal and agricultural cycles. In addition, an understanding of the value of mythology had been lost. As a result we had become alienated from the deepest and the highest sources of inspiration. This psychological perspective took into account our deepest needs, and in recent years Druidry, certainly as expressed within the teachings of the Order of Bards Ovates & Druids, has been clearly informed by it.
In addition, in the last decade or so, Druidry has been influenced by the ideas and philosophies of the holistic and environmental movements, so that alongside its preoccupations with the search for wisdom and union with Deity (who is seen as one with Nature) Druidry today is passionately concerned with protecting the natural world, and developing attitudes and lifestyles which promote living in harmony with Nature.
In contemporary Druidry, the tree which represents the Druid Grade is the Oak - the regal tree of wisdom and tradition - the primordial tree that has always been associated with both Druids and the Nemeton - the oak groves where they gathered and taught. The East is the place of the Druid, for it is from the East that the sun rises and from which comes the illumination that all Druids seek. The times associated with the Druid Grade are noon and Summer - times of greatest brightness and growth.

The Druid as our Inner Sage
The Bard in their training has opened to the artist, the creative Self, that lives within them, the Ovate in their training has opened to the shaman who lives within - the one who can travel in the inner realms to explore the fluid nature of time, and the inner power of trees, herbs and animals. The Druid, in their training, opens to their inner Wise Person, the inner Sage who is Philosopher and Counsellor, who judges and discriminates and who teaches perhaps too.
It is helpful, when we consider these three stages or groupings, if we do not consider them as a hierarchy, a ladder we must climb in order to reach enlightenment or full empowerment, but rather as levels of deepening. There is a path, or journey, that can be taken from one grade to the next, but having reached the Druid Grade the journey can begin again - making it one that follows a spiral or circular path rather than a linear one. At the Druid level the injunction is given: Generate and Regenerate! To do this we must die, we must change. The Ovate experience is passed through - under the sign of the Yew we follow the injunction 'Die and be reborn!' Finally we reach the stage of the Bard and we are able to be creative, to be fully born in the world, to express our inherent divinity in word, song, art and music.
The three realms of Art, Nature and Philosophy are encompassed within the three divisions of the Druid Tradition. We are finally able to unite our artistic concerns with our environmental and spiritual concerns. The Bard, Ovate and Druid are one person standing on the earth - poet and shaman, healer and philosopher - spiritual and earthy.
We ourselves may well not yet be this 'Whole Person', able to encompass all these abilities and interests, but the Druid as a model is always there to encourage and guide us, to shine a light for us on a path that is not uniform and not pre-determined, but unique to us and built with our own experience and our own creative genius.
According to your belief and experience you will understand the image of the Druid as Inner Sage as a metaphor, as a cultural creation, as an archetype in our collective consciousness, or as an actual being or one of a host of beings who exist on the inner planes, and who are simply waiting for us to turn to them for guidance.