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The Ogham Alphabet Gaelic Revitalization. The Ogham writing system is a topic that comes up occasionally in connection with Gaelic and Irish tattoos, so I want to share some information about what Ogham is, how it’s related to Gaelic, and what you have to watch out for if you’re going to use it in a Gaelic or Irish tattoo.

Ogham is not my area of specialization, so I interviewed my friend Dr. Conor Quinn, a linguist and polyglot. Conor has studied a wide range of languages (Indonesian, Sundanese, Mandarin, Quechua, Somali, Basque, Hmong, Icelandic, Albanian, Bulgarian, and Arabic, among others), and has worked most closely with the indigenous speech communities of the current- day U. S.- Canadian Northeast: Abenaki, Penobscot, Passamaquoddy- Maliseet, and Mi’kmaw. Alongside a variety of other ongoing revitalization work with those groups, he is currently helping complete a dictionary of the Penobscot language, and is now also developing immigrant/refugee ESL curricula that directly leverage learners’ first/primary language(s) as active resources for more effectively learning English. Following is my interview with Conor about Ogham.

After reading the interview, if you still have questions, feel free to leave them in the comments below! Via Wikimedia Commons – Entry for Ogham in Chambers’s Twentieth Century Dictionary of the English Language, 1.

Scottish Gaelic or Scots Gaelic, sometimes also referred to simply as Gaelic (Gàidhlig [ˈkaːlikʲ] ( listen)) or the Gaelic, is a Celtic language native to the.

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Rev. Thomas Davidson. This diagram shows the first two aicmí reversed (i. H set is before the B set). EM: Can you give us a basic description of Ogham? CQ: Ogham is essentially a twenty- letter alphabet (with five letters added later), apparently developed for “Primitive Irish”, the ancestor to the better- known Old Irish, which is effectively the ancestor of all three contemporary Gaelic languages (Irish, Manx, and Scottish Gaelic). EM: Who invented Ogham? CQ: No one really knows for sure.

There are at least two separate stories. One is tied to the legend of Irish itself being created by Scythian king Fenius Farsa and his scholars after the Tower of Babel as – surprise surprise – the selected best of all the languages of the time, with Ogham as its writing system. The other associates it with the hero Ogma (Mac Elathan) of Old Irish literature, who some have attempted to relate to the mainland Celtic god Ogmios, though the sound- correspondences between those superficially similar words don’t match up tidily enough to satisfy most Celtic language scholars. EM: What was Ogham writing used for? CQ: All we know directly for certain is its use in writing personal names, in possessor form (So- and- So’s…), on the edges of standing stones and the like, as memorial (and possibly as territory/boundary) markers. But references in Old Irish (and later) literature also have characters writing Ogham on sticks to send messages, to record information, and to do magic. EM: What languages was Ogham used to write?

CQ: Primitive Irish and its descendants, possibly Pictish, and later on, sometimes even Latin. And in revived form, I’ve seen English written in it, e. P- R- I- D- E for Pride, etc. EM: Where has it been used, geographically speaking? CQ: Mostly Ireland (especially in the southwest) and Wales (especially in the areas of significant Irish settlements around the 3rd century onward), but also on the Isle of Man and Scotland as well. EM: This is the question everyone probably wants to know: how exactly does Ogham work?

CQ: Ogham, quite delightfully, is one of the few alphabets written and read vertically from the bottom to the top. Its twenty letters, called feda (= ‘trees’), group into four aicme (= ‘family, tribe’) of five letters each. Each letter is simply a cluster of one to five straight lines, scratched along the (usually) vertical edge of a stone. The first family (B – L – V/F – S – N) has lines drawn to the right of the edge- line (so one line is B, two lines is L, five lines is N, etc.). The second family (H – D – T – C – Q) has lines drawn to the left. The third (M – G – NG – ST – R) draws its lines diagonally across both sides of the edge. And the fourth family (the vowels A – O – U – E – I) is drawn either as short marks on the edge itself, or straight across both sides of the edge.

Hence the classic description: It e a n- airdi : deasdruim, tuathdruim, leasdruim, tredruim, imdruim. Is amlaid imdreangair crand ·i· saltrad fora frem in croind ar tus ⁊ do lam dess reut ⁊ do lam cle fo deoid….‘These are their signs: right* of the back [back = the edge- line], left of the back, athwart the back, through the back, around the back. It’s how one climbs a tree, namely, treading on the root of the tree first with your right hand before you and your left hand after….’ (pp.

Auraicept na n- Éces)(*Technically, ‘right’ here is the same as ‘south’, and ‘left’ is ‘north’, thanks to the ancient tradition of orientation by facing east, which is literally what “orientation” itself refers to.)This is Ogham as known from the earliest stone markers. A much later manuscript tradition adds in a fifth aicme called forfeda – where for- is the direct cousin to the English (well, sort of English) super- and hyper- prefixes – that uses more complex symbols to write a mix of consonants and vowels/diphthongs from the much later Old Irish period. Hence the fifth group after “right- left- athwart- through” in the quote above). Only one of the forfeda letters (the simplest one, basically an X across the edge- line) is ever found in the earlier inscriptions, however, and often has a significantly different use than the manuscript tradition suggests.

To top it all off, the medieval- era Irish being the nostalgia- nerds they were, they also went out and made their own stone inscriptions, based both on what had been passed down and on what had been newly created within the manuscript tradition. Thus making a stack of extra work for archaeologists and historians. Four groups of five also means that Ogham lends itself well to representation with fingers (and perhaps toes). And there are indeed suggestions of its use as a (literally) manual code of that kind: across the shinbone, or across the bridge of the nose, and possibly even as the palm rapped against wood in different positions.

The medieval manuscript scholars went quite wild with the ready re- codeability of those four groups of five. The Lebor Ogaim (‘the Book of Ogham’), closely associated with the Auraicept na n- Éces (‘the Scholars’ Primer’), is our prime source for manuscript Ogham, and it lists nearly a hundred different graphic/glyphic ways to re- code these twenty letters: all kinds of cipher- substitutions, reversals, and inversions; along with endlessly inventive alternatives to the simple draw- some- straight lines approach: curved lines, crosshatched lines (called snait[h]i snimach = ‘interwoven threads’), glyphs that look like little trees, others like little shields, and even one called nathair fria fraech (‘snake through heath’), that you’ll have to see for yourself. EM: In the image at the bottom of this post, this is the Ogham- type visible at the start of the fourth line up from the bottom (above the diagrams), the one with a snakey line winding its way between all the individual feda.]So if you do want to do Ogham- based designs, consider also the possibilities beyond the basic five- scratched- line approach. In that core tradition, however, one quite beautiful Ogham artifact is the Buckquoy spindle- whorl (found on Mainland Orkney), which has a circular loop of a text that has been interpreted by Katherine Forsyth to read BENDDACT ANIM L ‘a blessing on the soul of L’. Source: Forsyth, Katherine (1. The ogham- inscribed spindle whorl from Buckquoy: evidence for the Irish language in pre- Viking Orkney?”, Proceedings of the Society of Antiquaries of Scotland 1.

EM: Speaking of using Ogham in the present day, is it pronounced “ogam” or “oh- am” or what? CQ: The tricky thing here is that the sound spelled “gh” in Modern Irish/Scottish Gaelic was in Old Irish generally just spelled “g”.

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