Celtic Religion: Ogmios - Essay Example

Ogmios The Celtic deity Ogmios was first described by Lucian in (Second Century AD), who wrote that he saw a picture of “an old man in a lion-skin, armed with a club and followed by people who were attached by gold and amber chains of great delicacy to his tongue” (Rankin, 1996: 283). He is presented as the god of eloquence, with the wisdom of age to use this gift to counter brute force. Likely related to the Irish god Ogma, Ogmios is one of the closest Gaulish parallels to the Irish Dagada, meaning "good god.” Lukianos, a derivative, is also equated with the Greek god Heraklles and the power of speech. (Lurkar, 2004) Named by Cæsar the Celtic Mercury, Ogmios was seen as the inventor of letters, patron of literature and persuasive speech. The name Ogmios however has not yet been identified on any Gaulish or on any British inscriptions. Ogmios has also been interpreted as a Psychopompos, one who leads the dead to the underworld, which may be reflected in the picture of the old man leading the string of followers described by Lucian. Ogmios is also associated with Hermes, who, as messenger god in Greek mythology, also leads the dead. (Lurkar, 2004). The Prophecies of Nostradamus describe Ogmios as an old wise soul who will come from an underground movement in Eastern Europe to defeat the anti-Christ, setting up a succession for a Great Genius who will lead the world to peace. Lebor Gabala Erenn Lebor Gabála Érenn (The Book of the Taking of Ireland) is the Middle Irish title of a loose collection of poems and prose narratives recounting the mythical origins and history of the Irish race from the creation of the world to the Middle Ages. Usually called The Book of the Invasions of Ireland, it is generally considered a ‘synthetic history’ comprising a compilation of stories assumed to be a blend of legends and oral history from prehistoric times. (Encyclopedia of Irish and World Art, no date) Later versions, like the Bible, place myths, legends, early history, and genealogies of Irish origins within the Christian biblical framework--beginning with Genesis, with God creating “the angels first, on a Sunday, and man on the Friday thereafter, the sixth day...” (Murdoch, 2003:24). The stories in Lebor’s final Medieval version are clearly outlined by Graham (2002) as having their origins in the Old Testament book Genesis, moving on through the early history of the Gaedil/Gaels “that seems to have been based on the wanderings of the Israelites in the Old Testament book Exodus” (Graham, 2002: para. 1-2). The recountings, in their original pagan form, are a primary source for the earliest period of Irish mythology known as the Mythological Cycle. As pseudohistory, the book (as does the Bible) traces the lineage of the Gaels from Egypt to Scythia, back to Egypt, then onward to the Caspian, the Maeiotic Marshes, Spain and the Iberian Celts. Stories from pagan times incorporated are probably based on histories compiled by the early Druids. (Graham, 2002) Sacrifice Among the Pagan Celts Questions abound about whether the Celts were a bloodthirsty lot for whom human sacrifice was the norm. The Celts’ ritual feast mostly included the sacrifice of living creatures [animals] along with war booty or portion of the harvest. Human sacrifice, however, did occur on a limited basis and only “in special times of crisis” (Davidson, H.R., 1988:40). Essentially the ceremonies were, in ancient tradition, a communication between the Celts and their gods. From early writings H.R. Davidson (1988) recounts, “Each man who slaughters an animal for sacrifice--ox, ram, goat or pig - fastens it to a pole outside the door of his house, to show that he had made his sacrifice in honor of the god.” (40) There are themes in the ancient Celtic religion which to non-Celtic observers would probably support the idea of them as brutal--the cult of the severed head...and human sacrifice. (Rankin, 1996). Poseidonius in his travels in southern Gaul noted the former practice and considered it from the Stone Age. Whether the severed heads that adorn the cathedral at Clonfert in Ireland were victims of sacrifice or had other origins is not known but suspected. Customs of sacrifice seem to have been varied in different areas of the Celtic domain. Finally, the ancient Italic Tables of Iguvium (Umbria) allude to rites of passage or gate ceremonies involving the sacrifice of animals—the majority of victims of sacrifice. (Rankin, 1996) Green (1998) qualifies the use of human sacrifice. “The Celts did practise human sacrifice but not very often, and it may be that animals were more frequently used instead.” (96) Epona The goddess Epona was revered by ancient Celts as loving protector of horses, donkeys and other animals. “Epona may have achieved prominence because free Celtic horsemen or equites were the elite of Celtic society and kings were traditionally chosen from this class” (Green, 1992: 16). Commonly shown as horse figure, a mare, a foal or as a woman on horseback, Epona also served as goddess of fertility, re-birth and abundance. Originally a Celtic goddess, she was accepted by Romans who saw her as protector of their cavalry. “Epona was clearly a most popular goddess, since stones and inscriptions were set up in her honour over all the parts of Europe occupied by the Roman armies” (Davidson,H. E., 1998: 40). The name Epona comes from the later Iron Age language of Gaulish—the language spoken throughout most of the northwest area of continental Europe—with Epos meaning horse, and Epa the feminine equivalent, mare. (Farrell, 2007). She is “unequivocally a Celtic goddess” (Green, 1992:16) and though later images have her dressed toga style, she was never an official part of Roman religious pantheon. Epona played roles from “benefactress and dispenser of life’s bounties...to presider over healing thermal sanctuaries (Celtic spas) and over the dead in their tombs” (Green, 1992:17). She is closely linked to the death symbol, “perhaps, like the mothers, in connection with regeneration and rebirth—an aspect which ties in with water and healing” (Green, 1992:17). Shown often with martial figures of high-born Celtic women, it is likely the Celtic cult of Epona had “flourished among...women followers” (Davidson, H.E., 1998:41). References Davidson, H.E. (1998). Roles of the Northern Goddess. London: Routledge. Davidson, H.R. Ellis. (1988). Myths and Symbols in Pagan Europe: Early Scandinavian and Celtic Religions. Syracuse, NY: Syracuse University Press. Green, M. (1992). Symbol and Image in Celtic Religious Art. London: Routledge. Green, M. (1998). Animals in Celtic Life and Myth. Contributors: New York: Routledge. Lurkar, M. (2004) The Routledge Dictionary of Gods and Goddesses, Devils and Demons. New York: Routledge. Murdoch, B. (2003).The Medieval Popular Bible: Expansions of Genesis in the Middle Ages. New York: D.S. Brewer. Rankin, D. (1996). Celts and the Classical World. London: Routledge. Electronic References Encylopedia of Irish and World Art. (no date). Lebor Gabala Erenn: Book of Invasions. Retrieved April 11, 2010 from: http://www.visual-arts-cork.com/cultural-history-of-ireland/lebor-gabala-erenn-book-of-invasions.htm Farrell, E. (July 9, 2007) Epona: The Celtic Horse Goddess. Retrieved April 10, 2010 from http://paganismwicca.suite101.com/article.cfm/epona Graham, L.D. (2002) The Lebor Gabála Érenn at a Glance: an Overview of the 11th Century Irish Book of Invasions. Australia. Retrieved April 10, 2010 from: http://www.maryjones.us/jce/LGEoverview.pdf Read More