The Three Cauldrons: Celtic Myth and Spiritual Wisdom

Academic and historically based study and exploration of authentic Celtic religion, mythology, druidism, folklore, literature, languages, wisdom texts, archaeology, ethnography, ritual, poetry and visionary practices, as well as the anthropologically supported identification of shamanic elements in Celtic contexts.

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Síthearan NicLeòid

Síthearan NicLeòid

Born on the eve of Lugnasad, your guide and ban-fili/ban-druí is a published author, teacher, and Celtic singer and musician. She trained in Celtic Studies through Harvard University, and has taught Celtic mythology and folklore at the university level. Her research in Celtic myth and religion has been presented at the University of Edinburgh, University College Cork, the International Celtic Congress, the Harvard Graduate Study Group for Ancient Magic and Religion, and the Ford Foundation Lecture Series.

She has served as Faculty at the Celtic Institute of North America and the Omega Institute, and her books include: ‘Celtic Myth and Religion: A Study of Traditional Belief' (McFarland), ‘Celtic Cosmology and the Otherworld: Mythic Origins, Sovereignty and Liminality’ (McFarland), 'The Divine Feminine in Ancient Europe' (McFarland), ‘'Queen of the Night' (Weiser), ‘Early Celtic Poetry and Wisdom Texts: The Three Cauldrons, The Songs of Amairgen, and other Cultural Studies’ (forthcoming) and a chapter in the academic collection ‘Celtic Mythology in the 21st Century’ (University of Wales Press).

Currently she is Director of the Eolas ar Senchais research project, which received international grant funding to research and restore authentic ancient Celtic instrumental music and vocal art forms, and historically attested Celtic ritual in socio-religious context.

She sings in many of the modern and medieval Celtic languages and is a multi-instrumentalist. Her previous musical group, The Moors, has cult status in the pagan world. She leads workshops and distance training programs, with new books, CD's and research on the way.

 

 

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Hello, and blessings to all!

It's been quite a few months since my last posting, as I was busy finishing up a new book, which should be out later this year. The working title is "Celtic Cosmology and the Otherworld: Mythic Origins, Sovereignty and Liminality," and it's on a small and wondrous academic press - McFarland (you can get on their mailing list to receive up to the moment notices).

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  • Síthearan NicLeòid
    Síthearan NicLeòid says #
    Thank you very much! I'm glad you enjoyed the post and hope you enjoy The Moors music and Eldritch too! Wishing you many spring bl
  • Jamie
    Jamie says #
    Ms. NicLeoid, That is some great stuff! I'll definitely get your CD. It's great that you have invested so much of yourself in pre

Last winter I moved from the city to a small, rural town, seeking a deeper and more frequent connection with nature, quiet space for introspection, and a more flexible lifestyle (as the cost of living is much less out here). I arrived on Imbolc, raw from almost two years of misfortune and disconnection, and felt Brigid's presence as I was rebirthed into a warm blanket of a welcoming home, land and a new start. I gave thanks that day, and immediately went outside into the still, white blanket of snow and made offerings to the Guardian Spirits of the land, thanking them for bringing me here, and asking for their blessings. I felt immediately that my offerings had been well received. 

Almost daily I walked a few yards from my apartment into a small patch of forest where I could be alone with the Spirits, creating a path in the snow that I followed each day, and which sometimes deer followed as well (as I noted from their hoofprints). At other times, it was their path that I followed, although we never saw each other. I reveled in the clean air, the wisdom of the tall trees above me, and a place to sit in utter stillness.

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  • Síthearan NicLeòid
    Síthearan NicLeòid says #
    Thank you Carol! It's more personal than many of my postings, but it felt right. Are you well? I hope your life and work are on a
  • Carol P. Christ
    Carol P. Christ says #
    This is beautiful, showing us a path to reconnection with the land, our communities, ourselves!
Both Roots and Blossoms: Tips for Cultivating Celtic Wisdom

The image of the tree is ubiquitous in both Celtic mythology and Celtic folklore contexts. Otherworld trees surround the Well of Wisdom, dropping their nuts into the water, where the salmon of wisdom crack open the kernel of knowledge inside. Many types of trees are mentioned in the source materials - oak, yew, hazel, apple, holly, hawthorn, ash, just to name a few. Often times there are descriptions of remarkable fruit, leaves, nuts or flowers, sometimes all bursting forth at once (something which does not typically occur in nature).

Less mention is made of the roots of these magical or sacred trees, and it is to the roots that I wish to draw attention in this entry. Without roots, the plants could not 'take root,' or draw from the earth what they need in order to burst forth from their seed-shell and begin growing. The roots permit the plant to exist 'between the worlds,' rooted in the dark, moist soil of the earth, and also growing towards the sun and the rain - a balanced existence between the Lower World and Upper World.

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  • Síthearan NicLeòid
    Síthearan NicLeòid says #
    You are most welcome! I'm so glad it was of service
  • Michelle Simkins
    Michelle Simkins says #
    Thank you so much for this article! I appreciate the tips for ways to dig deeper!

It occurs to me that it might be of interest to say a little something about the name of this blog - "The Three Cauldrons." The name comes from the content and theme of a fascinating little collection of poetry and prose found complete only in one manuscript (TCD MS H.3.18), small parts of which which were copied in other texts. It was first edited some years ago and entitled by the editor (not the original author or scribe), 'The Caldron of Poesy,' a somewhat out-of-date title (and spelling) that has nonetheless been used by subsequent editors.

A more appropriate title would be 'The Three Cauldrons,' as this is the subject of the text. Although the extant manuscript dates to the sixteenth century, the content clearly goes back to an Old Irish original, probably dating to the first half of the eighth century. Students of early Irish belief will remember that the filid (poet-seers) were in existence at this time, as well as the druids (who had legal status into the ninth century, although their influence seems to have been waning by that point).

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  • Katie
    Katie says #
    I learned about the cauldrons in a Celtic Shamanism class I took from Meri Fowler and loved it! Its what first got me into shamani
  • Jamie
    Jamie says #
    Ms. NicLeoid, Thanks for sharing! I'm a Platonist Hellenist now, but owing to my heritage I've read many books about ancient Celt
  • Tony Lima
    Tony Lima says #
    What Ireland needs to do concerning the Romantic explorations is in the mannerisms involving mating 100%, this can be straightened
  • Tony Lima
    Tony Lima says #
    From what I understand, the Irish culture is indirectly driven by Psycho-electromagnetism - a superior nature in self-realization,

To understand Celtic literature and the parts of that literature that may represent Celtic mythology, we must have at least a basic understanding of who the Ancient Celts were (and along the way, clear up some misconceptions that are quite prevalent in popular culture these days). First, we must emphatically state that there is not a Celtic 'race' - this is a mistaken concept promoted by the Victorians (or earlier), passed along through early 20th century writings, and still (sadly) used by some hate groups today. Being 'Celtic' has more to do with language and culture, than it has to do with DNA.

This is not to say that people today are not descended from the Celts (they are!) or that someone does not have Irish ancestry when their grandmother is Irish (they do!). There is not a lone genetic marker for being 'Celtic' (although some interesting patterns emerged over the millenia) - and much of the genetic research shows that in many regions we associate with Celtic culture, the primary genetic makeup of the people who live there is the same as those who lived there before Celtic culture arrived or emerged. This is not true everywhere, but it does show that for various reasons the people who were already living in these European regions adopted Celtic language and culture.

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  • Síthearan NicLeòid
    Síthearan NicLeòid says #
    Hello there and thanks for this great question. I too reject his theories - it's possible some details were accentuated in medieva
  • Jamie
    Jamie says #
    Ms. NicLeoid, How do you feel about the theories of British archeologist Francis Pryor? Do you share his belief that the Anglo-Sa

For many people, the term 'Celtic music' conjures up images of foot-stomping fiddle music, skirling bagpipes, or ethereal vocals floating over a bed of synthesizers. All of these genres are evocative and have many fans around the world - and for good reason: the music is wonderful, quite diverse, and appeals to our senses on many levels.

However, none of this would be recognizable to a Celtic speaking person during the pagan period - bagpipes didn't appear on the seen until the late medieval era, fiddles were introduced a few hundred years ago, and synthesizers are of course quite modern.

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  • Jamie
    Jamie says #
    That is very, very interesting. I was aware that metal horns and rattles were used by the Iron Age Celts, but I hadn't any idea th

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