#Gaelic/Irish

[kropotkindersurprise]

An Irish far-right streamer attempts to interview an antifascist. Sound on. [video]

[scims-stuff]

I think it’s just kinda ironic that Hozier released a song dedicated to the destruction of native culture and language, and most of you seem to be allergic to referring to the Irish language as Irish.

Gaelic is an umbrella term that describes many languages, mainly Irish, Welsh, and Scots Gaelic. Gaelic is not an actual language (or at least not anymore). All three are distinct languages with their own spellings and grammar. In the De Selby bts video Hozier himself refers to it as Irish.

You would not refer to Spanish as romantic when it could also mean French and Italian. Show some respect.

[nibmoss]

did you hear there’s a new short film that is GAY?? LESBIAN, even???

AND it’s filmed in a minority language?? a CELTIC language, one might say??

AND that it’s available for FREE, with SUBTITLES in both irish AND english??

“FAN” (2024) dir. cúnla ní bhraonáin morris

watch here 🫶

[lostinmac]

Kneecap (2024)

Dir. Rich Peppiatt

[anarcho-sgathach]

My most controversial take is that I think if youre going to be any kind of culturally based polytheist, you should a) learn the language and b) learn to do scholarly research.

I wont use the word "must", and call me a gatekeeper all you like, but there is so much misinformation out there that if you care about your practice being authentic/culturally sensitive AT ALL you need to learn how to sift through the centuries of romanticism and neopagan-speculation-sold-as-fact (looking at you, Wiccans).

Not saying your practice must be reconstructionist in nature, but if you can't tell what is supported by the data, what is conjecture, and what is outright fabrication, you are doing the material, your practice, and yourself a disservice.

[llyfrenfys]

I'd like to preface this with that this is a screenshot of a post I saw a few days ago in the #welsh tag and that the OP has since deleted this post, but the sentiment is something I'd like to address since I see a lot of parallels with this kind of thinking in other contexts, such as in LGBTQIA+ rights conversations.

So, the most obvious elephant in the room is the idea that Welsh is super widely spoken in Wales now and that it isn't in as much danger as other Celtic languages. This idea is wishful thinking at best and erases the very real danger that Welsh is in and that it could be lost just as easily as Irish or Scottish Gaelic. Cornish (which is related to Welsh) actually did die out and has had to be revived. To make a metaphor out of this, we classify languages on a scale of non-threatened to endangered in a similar way to how we classify species.

Here are the statuses of Welsh and Irish as of 2010 (above) and the statuses of Lions and Tigers (below).

On paper tigers are more 'in danger' than lions. But that does not mean that lions are suddenly not in danger at all. The little bracket above CR, EN and VU labels all of these classifications as threatened. It isn't (and definitely shouldn't) be a competition of 'who is most in danger' because you do not want the thing you care about (whether it be a species or a language) to be in danger.

To come back to the original screenshot "they* [Welsh speakers] have always had the means and the ways because the English didn't beat or slaughter them for speaking it"- on the most basic of levels, this is just incorrect. The Welsh Not was a wooden token hung around schoolchildren's necks if they spoke Welsh in school. If someone else spoke Welsh the Not would be hung around their neck. At the end of the school day, whoever was wearing the Not would be beaten and caned by their teachers. I needn't go into much detail but there have been concerted efforts to beat Welsh out of schoolchildren. With the lions vs tigers metaphor, making the claim Welsh speakers have never been beaten for speaking Welsh because they always had the means and ways, while Irish speakers were beaten and never had the means or ways is like claiming poachers have never shot lions, only tigers. Bottom line is, lions and tigers are both victim to poaching and both species have suffered as a result. Similarly, Welsh and Irish have both suffered language loss and both need conservation efforts in order to survive.

(*sidenote- the consistent use of 'them' and 'they' in the original post is definitely indicative of a 'us vs them' sentiment which is a deeply unhelpful attitude to have when it comes to endangered languages and the Celtic languages in particular)

I see parallels with LGBTQIA+ rights in this situation. When equal marriage came in for gay and lesbian couples in the UK in 2014, many allies began to act like gay rights had now been achieved and that gay issues had been done, they're solved. Except, they really weren't (and aren't). Progress has been made in Wales and undeniably Welsh is doing the best out of the living Celtic languages. But that doesn't mean Welsh has been saved or that full equality for Welsh speakers has been achieved. It very much hasn't. The sentiment of the post in the screenshot is not conducive to helping Irish or Scottish Gaelic. Putting down Welsh speakers and erasing Welsh-language history will not save Irish or Scottish Gaelic. Pretending Welsh has had it easy in some kind of lap of luxury is a deeply harmful and bogus claim.

I'll address the tags under the cut as this post is getting long.

To address the tags, personal feelings ≠ an accurate reading of a situation. Nor is it praxis, for that matter. Why is pride in Welsh different/less good than pride in Irish? Is it the assumed proximity to England? If so, that's a terrible claim to make. Not only that, but Scotland is also next to England- does that make pride in Scottish Gaelic the same as pride in Welsh according to this metric? It's a ludicrous thing to say and deeply insensitive to the needs of Scottish Gaelic and Welsh speakers, who cannot help any current or former proximity to England.

Additionally, proximity to England ≠ worse. I know it's a popular internet joke to hate on England because of English attempts to eradicate the Celtic languages, but when the joke becomes praxis, it does not help. England ≠ a place devoid of Celtic languages either. Many English counties near the Welsh border actually have communities of Welsh speakers, such as Oswestry (Croesoswallt) in Shropshire. Cornwall is also home to many speakers of revived Cornish. It does a disservice to Celtic speakers in England to insinuate that proximity to England taints or corrupts them somehow. This is how ethnonationalism starts and we ain't about that.

And "#it feels a little.... blehhhhh you were seen as sophisticated and english enough and you assimilated however the Irish and the Scots? #brutish animals that need to be culled". So, this is arguably one of the worst things to say about a Celtic language- or any threatened language in general. First of all, the 'you were seen as' - 'you' is very telling. The switch from 'them', 'they' to 'you' indicates that this sentiment is aimed at Welsh speakers directly. This was likely a subconscious thing that OP wasn't thinking about when they wrote this. But it does indicate unhealthy feelings of jealousy and bitterness unfairly directed at Welsh speakers, who are also struggling. This righteous anger at the decline of Irish and Scottish Gaelic would be better directed at efforts to help promote those languages- some useful things to get involved with are LearnGaelic, similar to DysguCymraeg but for Scottish Gaelic or supporting channels such as Irish channel TG4 by watching their programmes.

The idea that Welsh speakers were or are 'sophisticated and english enough' is insulting and carries with it a lot of baggage of how any of these assumptions came about. Welsh speakers were definitely not seen as sophisticated. Where Welsh was 'tolerated', it was treated as a curiosity, a relic of a bygone age. Classic museification which all Celtic languages and cultures suffer from as well. Welsh was not tolerated in any legal sense since 1535- with English becoming the only valid administrative language and the language of Welsh courts after England annexed Wales into its Kingdom. Monolingual Welsh speakers suddenly had no access to any legal representation, unless they learned English. This is no voluntary assimilation- it is an act of survival for many speakers of minoritised languages to 'assimilate' into the dominant culture, or else risk losing access to legal security and other kinds of infrastructure. You need only ask any non-native English speaker living in an Anglophone country what that process is like. Welsh people did not see English incursion as an opportunity to become 'sophisticated and english enough', they had to assimilate in order to survive.

The "Irish and the Scots? #brutish animals that need to be culled" is also painfully misrepresenting a very complex social and political process that unfolded over the span of hundreds of years. The phrasing itself of 'brutish animals that need to be culled' speaks to righteous anger at the damage done to these languages and cultures, but it reinforces negative stereotypes about the Irish and Scots themselves. It also is more complicated than a simple English hatred of anything non-Anglo, since the English conception of particularly the Irish changed a lot over the centuries. It was (and still is) rarely consistent with itself. See: the enemy is both strong and weak. The very earliest Celticists were by and large, Anglos or French.

Ernest Renan (1823-1892) for example, was an early French Celticist who published La Poésie des races celtiques (Poetry of the Celtic Races- English translation) in which he says:

"... we must search for the explanation of the chief features of the Celtic character. It has all the failings, and all the good qualities, of the solitary man; at once proud and timid, strong in feeling and feeble in action, at home free and unreserved, to the outside world awkward and embarrassed. It distrusts the foreigner, because it sees in him a being more refined than itself, who abuses its simplicity. Indifferent to the admiration of others, it asks only one thing, that it should be left to itself. It is before all else a domestic race, fitted for family life and fireside joys. In no other race has the bond of blood been stronger, or has it created more duties, or attached man to his fellow with so much breadth and depth"

Yeah. This guy (unsurprisingly) was a white supremacist. Note that this sentiment is being applied to all people considered Celtic by Renan- Irish, Welsh, Breton, Scottish, Cornish, Manx etc. None unscathed by the celtophobia of the day. In this period, Celticity was romanticised (yet disparaged at the same time). It is less 'brutish animals' and more 'archaic, time-frozen peoples' in this period. Of course, 'brutish animals' attitudes towards Celticity did still exist, but it is disingenuous to act as if it was this attitude alone which drove English celtophobia. Like many things, it is always more complicated and never clear cut as it might seem.

I'll bring this to a close shortly, but returning to OP's suggestion that the Welsh assimilated and the Scots and Irish did not, is also incorrect in that some Scots did have to assimilate to survive as well. The Statutes of Iona (1609) required Scottish Gaelic speaking Highland chiefs to send their sons away to be educated in Scots and/or English in Protestant schools. Many did as the statutes required, which led to further language loss in the Highlands of Scottish Gaelic. These are acts of survival- and not ones always taken willingly.

This has been a long post but it's one which I felt I wanted to address. There's no need for infighting between speakers of Celtic languages over who has it worse. There isn't any answer to that question, nor is it a good use of time or energy. All in all, the Celtic languages have suffered greatly over the years and its only just now that some of them are turning a corner. If you care about these languages, put your energy into something good. Only through active work will these languages be saved for generations to come.

[ceilidhtransing]

Gàidhlig vs Gaeilge

The languages Scots Gaelic* (Gàidhlig) and Irish Gaelic (Gaeilge, also known in English as simply “Irish”) are two separate languages, yet in English they are often both called Gaelic.

However, they are pronounced completely differently.

Gaelic (Scottish) rhymes with Alec

Gaelic (Irish) sounds like Gay-lick

As a fun fact, it's easy to tell apart Scots Gaelic and Irish Gaelic visually because in Gàidhlig 🏴󠁧󠁢󠁳󠁣󠁴󠁿 all the accents are grave - “welcome to Scotland”, which you'll see driving over the border, is “fàilte gu Alba” - while in Gaeilge 🇮🇪 all the accents are acute - “welcome to Ireland” is “fáilte go hÉirinn”.

This has been a very friendly PSA from a Scot who has heard Scots Gaelic mispronounced as “Gaylick” too many times - and now you can go on your merry linguistic way confident in your pronunciation of these two words which look identical but sound totally different and refer to two separate things.

*not to be at all confused with the Scots language, which is its own separate thing and very much not included under “Gaelic”

[irish-dress-history]

Did the ancient Celts really paint themselves blue?

Part 2: Irish tattoos

Clockwise from top left: Deirdre and Naoise from the Ulster Cycle by amylouioc, detail from The Marriage of Strongbow and Aoife by Daniel Maclise, a modern Celtic revival tattoo, Michael Flatley in a promotional image for the Irish step dance show 'Lord of the Dance'

This is my second post exploring the historical evidence for our modern belief that the ancient and medieval Insular Celts painted or tattooed themselves with blue pigment. In the first post, I discussed the fact that body paint seems to have been used by residents of Great Britain between approximately 50 BCE to 100 CE. In this post, I will examine the evidence for tattooing.

Once again, I am looking at sources pertaining to any ethnic group who lived in the British Isles, this time from the Roman Era to the early Middle Ages. The relevant text sources range from approximately 200 CE to 900 CE. I am including all British Isles cultures, because a) determining exactly which Insular culture various writers mean by terms like ‘Briton’, ‘Scot’, and ‘Pict’ is sometimes impossible and b) I don’t want to risk excluding any relevant evidence.

Continental Written Sources:

The earliest written source to mention tattoos in the British Isles is Herodian of Antioch’s History of the Roman Empire written circa 208 CE. In it, Herodian says of the Britons, "They tattoo their bodies with colored designs and drawings of all kinds of animals; for this reason they do not wear clothes, which would conceal the decorations on their bodies" (translation from MacQuarrie 1997). Herodian is probably reporting second-hand information given to him by soldiers who fought under Septimius Severus in Britain (MacQuarrie 1997) and shouldn't be considered a true primary source.

Also in the early 3rd century, Gaius Julius Solinus says in Collectanea Rerum Memorabilium 22.12, "regionem [Brittaniae] partim tenent barbari, quibus per artifices plagarum figuras iam inde a pueris variae animalium effigies incorporantur, inscriptisque visceribus hominis incremento pigmenti notae crescunt: nec quicquam mage patientiae loco nationes ferae ducunt, quam ut per memores cicatrices plurimum fuci artus bibant."

Translation: "The area [of Britain] is partly occupied by barbarians on whose bodies, from their childhood upwards, various forms of living creatures are represented by means of cunningly wrought marks: and when the flesh of the person has been deeply branded, then the marks of the pigment get larger as the man grows, and the barbaric nations regard it as the highest pitch of endurance to allow their limbs to drink in as much of the dye as possible through the scars which record this" (from MacQuarrie 1997).

This passage, like Herodian's, is clearly a description of tattooing, not body staining or painting. That said, I have no idea of tattoos actually work like this. I would think this would result in the adult having a faded, indistinct tattoo, but if anyone knows otherwise, please tell me.

The poet Claudian, writing in the early 5th c., is the first to specifically mention the Picts having tattoos (MacQuarrie 1997). In De Bello Gothico he says, "Venit & extremis legio praetenta Britannis,/ Quæ Scoto dat frena truci, ferroque notatas/ Perlegit exanimes Picto moriente figuras."

Translation: "The legion comes to make a trial of the most remote parts of Britain where it subdues the wild Scot and gazes on the iron-wrought figures on the face of the dying Pict" (from MacQuarrie 1997).

Last, and possibly least, of our Mediterranean sources is Isidore of Seville. In the early 7th c. he writes, "the Pictish race, their name derived from their body, which the efficient needle, with minute punctures, rubs in the juices squeezed from native plants so that it may bring these scars to its own fashion [. . .] The Scotti have their name from their own language by reason of [their] painted body, because they are marked by iron needles with dark coloring in the form of a marking of varying shapes." (translation from MacQuarrie 1997)

Isidore is the earliest writer to explicitly link the name 'Pict' to their 'painted' (Latin: pictus) i.e. tattooed bodies. Isidore probably borrowed information for his description from earlier writers like Claudian (MacQuarrie 1997).

In the 8th century, we have a source that definitely isn't Romans recycling old hearsay. In 786, a pair of papal legates visited the Anglo-Saxon kingdoms of Mercia and Northumbria (Story 1995). In their report to Pope Hadrian, the legates condemn pagans who have "superimposed most hideous cicatrices" (i.e gotten tattoos), likening the pagan practice to coloring oneself "with dirty spots". The location of the visit indicates that these are Anglo-Saxon tattoos rather than Celtic, but some scholars have suggested that the Anglo-Saxons might have adopted the practice from the Brittonic Celts (MacQuarrie 1997).

A gloss in the margin of the late 9th c. German manuscript Fulda Aa 2 defines Stingmata [sic] as "put pictures on the bodies as the Irish (Scotti) do." (translation from MacQuarrie 1997).

Fulda Aa 2 folio 43r The gloss is on the left underlined in white.

Irish Written Sources:

Irish texts that mention tattoos date to approximately 700-900 CE, although some of them have glosses that may be slightly later, and some of them cannot be precisely dated.

The first text source is a poem known in English as "The Caldron of Poesy," written in the early 8th c. (Breatnach 1981). The poem is purportedly the work of Amairgen, ollamh of the legendary Milesian kings. In the first stanza of the poem, he introduces himself saying, "I being white-kneed, blue-shanked, grey-bearded Amairgen." (translation from Breatnach 1981)

The text of the poem with interline glosses from Trinity College Dublin MS 1337/1

The word garrglas (blue-shanked) has a Middle Irish (c. 900-1200) gloss added by a later scribe, defining garrglas as: "a tattooed shank, or who has the blue tattooed shank" (Breatnach 1981).

Although Amairgen was a mythical figure, the position ollamh was not. An ollamh was the highest rank of poet in medieval Ireland, considered worthy of the same honor-price as a king (Carey 1997, Breatnach 1981). The fact that a man of such esteemed status introduces himself with the descriptor 'blue-shanked' suggests that tattoos were a respectable thing to have in early medieval Ireland.

The leg tattoos are also mentioned c. 900 CE in Cormac’s Glossary. It defines feirenn as "a thong which is about the calf of a man whence ‘a tattooed thong is tattooed about [the] calf’" (translation from MacQuarrie 1997)

The Irish legal text Uraicecht Becc, dated to the 9th or early 10th c., includes the word creccoire on a list of low-status occupations (Szacillo 2012, MacNeill 1924). A gloss defines it as: crechad glass ar na roscaib, a phrase which Szacillo interprets as meaning "making grey-blue sore (tattooing) on the eyes" (2012). This sounds rather strange, but another early Irish text clarifies it.

The Vita sancti Colmani abbatis de Land Elo written around the 8th-9th centuries (Szacillo 2012) contains the following episode:

On another time, St Colmán, looking upon his brother, who was the son of Beugne, saw that the lids of his eyes had been secretly painted with the hyacinth colour, as it was in the custom; and it was a great offence at St Colmán’s. He said to his brother: ‘May your eyes not see the light in your life (any more). And from that hour he was blind, seeing nothing until (his) death. (translation from Szacillo 2012).

The original Latin phrase describing what so offended St Colmán "palpebre oculorum illius latenter iacinto colore" does not contain the verb paint (pingo). It just says his eyelids were hyacinth (blue) colored. This passage together with the gloss from the Uraicecht Becc implies that there was a custom of tattooing people's eyelids blue in early medieval Ireland. A creccoire* was therefore a professional eyelid tattooer or a tattoo artist.

A possible third reference to tattooing the area around the eye is found in a list of Old Irish kennings. The kenning for the letter 'B' translates as 'Beauty of the eyebrow.' This kenning is glossed with the word crecad/creccad (McManus 1988). Crecad could be translated as cauterizing, branding, or tattooing (eDIL). McManus suggests "adornment (by tattooing) of the eyebrow" as a plausible interpretation of how crecad relates to the beauty of the eyebrow (1988). The precise date of this text is not known (McManus 1988), but Old Irish was used c. 600-900 CE, meaning this text is of a similar date to the other Irish references to tattoos.

Kenning of the letter 'b' with gloss from TCD MS 1337/1

There is a sharp contrast between the association of tattoos with a venerated figure in 'The Caldron of Poesy', and their association with low-status work and divine punishment in the Uraicecht Becc and the Vita. This indicates that there was a shift in the cultural attitude towards tattoos in Ireland during the 7th-9th centuries. The fact that a Christian saint considered getting tattoos a big enough offense to punish his own brother with blindness suggests that tattooing might have been a pagan practice which gradually got pushed out by the Catholic Church. This timeline is consistent with the 786 CE report of the papal legates condemning the pagan practice of tattooing in Great Britain (MacQuarrie 1997).

There are some mentions of tattooing in Lebor Gabála Érenn, but the information largely appears to be borrowed from Isidore of Seville (MacQuarrie 1997). The fact that the writers of LGE just regurgitated Isidore's meager descriptions of Pictish and Scottish (ie Irish) tattooing without adding any details, such as the designs used or which parts of the body were tattooed, makes me think that Insular tattooing practices had passed out of living memory by the time the book was written in the 11th century.

*There is some etymological controversy over this term. Some have suggested that the Old Irish word for eyelid-tattooer should actually be crechaire. more info Even if this hypothesis is correct, and the scribe who wrote the gloss on creccoire mistook it for crechaire, this doesn't contradict my argument. The scribe clearly believed that eyelid-tattooer belonged on a list of low-status occupations.

Discussion:

Like Julius Cesar in the last post, Herodian of Antioch c. 208 CE makes some dubious claims of Celtic barbarism, stating that the Britons were: "Strangers to clothing, the Britons wear ornaments of iron at their waists and throats; considering iron a symbol of wealth, they value this metal as other barbarians value gold" (translation from MacQuarrie 1997). If the Britons wore nothing but iron jewelry, then why did they have brass torcs and 5,000 objects that look like they're meant to attach to fabric, Herodian?

Brass torc from Lochar Moss, Scotland c. 50-200 CE. Romano-British trumpet brooch from Cumbria c. 75-175 CE. image from the Portable Antiquities Scheme.

Trumpet brooches are a Roman Era artifact invented in Britain, that were probably pinned to people's clothing. more info

Although Herodian and Solinus both make dubious claims, there are enough differences between them to indicate that they had 2 separate sources of information, and one was not just parroting the other. This combined with the fact that we have more-reliable sources from later centuries confirming the existence of tattoos in the British Isles makes it probable that there was at least a grain of truth to their claims of tattooing.

There is a common belief that the name Pict originated from the Latin pictus (painted), because the Picts had 'painted' or tattooed bodies. The Romans first used the name Pict to refer to inhabitants of Britain in 297 CE (Ware 2021), but the first mention of Pictish tattoos came in 402 CE (Carr 2005), and the first explicit statement that the name Pict was derived from the Picts' tattooed bodies came from Isidore of Seville c. 600 CE (MacQuarrie 1997). Unless someone can find an earlier source for this alleged etymology than Isidore, I am extremely skeptical of it.

Summary of the written evidence:

Some time between c. 79 CE (Pliny the Elder) and c. 208 CE (Herodian of Antioch) the practice of body art in Great Britain changed from staining or painting the skin to tattooing. Third century Celtic Briton tattoo designs depicted animals. Pictish tattoos are first mentioned in the 5th century.

The earliest mention of Irish tattoos comes from Isidore of Seville in the early 6th c., but since it seems to have been a pre-Christian practice, it likely started earlier. Irish tattoos of the 8-9th centuries were placed on the area around the eye and on the legs. They were a bluish color. The 8th c. Anglo-Saxons also had tattoos.

Tattooing in Ireland probably ended by the early 10th c., possibly because of Christian condemnation. Exactly when tattooing ended in Great Britain is unclear, but in the 12th c., William of Malmesbury describes it as a thing of the past (MacQuarrie 1997). None of these sources give much detail as to what the tattoos looked like.

The Archaeology of Insular Ink:

In spite of the fact that tattooing was a longer-lasting, more wide-spread practice in the British Isles than body painting, there is less archaeological evidence for it. This may be because the common tools used for tattooing, needles or blades for puncturing the skin, pigments to make the ink, and dishes to hold the ink, all had other common uses in the Middle Ages that could make an archaeologist overlook their use in tattooing. The same needle that was used to sew a tunic could also have been used to tattoo a leg (Carr 2005). A group of small, toothed bronze plates from a Romano-British site at Chalton, Hampshire might have been tattoo chisels (Carr 2005) or they might have been used to make stitching holes in leather (Cunliffe 1977).

Although the pigment used to make tattoos may be difficult to identify at archaeological sites, other lines of evidence might give us an idea of what it was. Although the written sources tell us that Irish tattoos were blue, the popular modern belief that woad was the source of the tattoo pigment is, in my opinion, extremely unlikely for a couple of reasons:

1) Blue pigment from woad doesn't seem to work as tattoo ink. The modern tattoo artists who have tried to use it have found that it burns out of the person's skin, leaving a scar with no trace of blue in it (Lambert 2004).

2) None of the historical sources actually mention tattooing with woad. Julius Cesar and Pliny the Elder mention something that might have been woad, but they were talking about body paint, not tattoos. (see previous post) Isidore of Seville claimed that the Picts were tattooing themselves with "juices squeezed from native plants", but even assuming that Isidore is a reliable source, you can't get blue from woad by just squeezing the juice out of it. In order to get blue out of woad, you have to first steep the leaves, then discard the leaves and add a base like ammonia to the vat (Carr 2005). The resulting dye vat is not something any knowledgeable person would describe as plant juice, so either Isidore had no idea what he was talking about, or he is talking about something other than blue pigment from woad.

In my opinion, the most likely pigment for early Irish and British tattoos is charcoal. Early tattoos found on mummies from Europe and Siberia all contain charcoal and no other colored pigment. These tattoos range in date from c. 3300 BCE (Ötzi the Iceman) to c. 300 CE (Oglakhty grave 4) (Samadelli et al 2015, Pankova 2013).

Despite the fact that charcoal is black, it tends to look blueish when used in tattoos (Pankova 2013). Even modern black ink tattoos that use carbon black pigment (which is effectively a purer form of charcoal) tend to look increasingly blue as they age.

A 17-year-old tattoo in carbon black ink photographed with a swatch of black Sharpie on white printer paper.

The fact that charcoal-based tattoo inks continue to be used today, more than 5,000 years after the first charcoal tattoo was given, shows that charcoal is an effective, relatively safe tattoo pigment, unlike woad. Additionally, charcoal can be easily produced with wood fires, meaning it would have been a readily available material for tattoo artists in the early medieval British Isles. We would need more direct evidence, like a tattooed body from the British Isles, to confirm its use though.

As of June 2024, there have been at least 279 bog bodies* found in the British Isles (Ó Floinn 1995, Turner 1995, Cowie, Picken, Wallace 2011, Giles 2020, BBC 2024), a handful of which have made it into modern museum collections. Unfortunately, tattoos have not been found on any of them. (We don't have a full scientific analysis for the 2023 Bellaghy find yet though.)

*This number includes some finds from fens. It does not include the Cladh Hallan composite mummies.

Tattoos in period art?

It has been suggested that the man fight a beast on Book of Kells f. 130r may be naked and covered in tattoos (MacQuarrie 1997). However, Dress in Ireland author Mairead Dunlevy interprets this illustration as a man wearing a jacket and trews (Dunlevy 1989). Looking at some of the other figures in the Book of Kells, I agree with Dunlevy. F. 97v shows the same long, fitted sleeves and round neckline. F. 292r has long, fitted leg coverings, presumably trews, and also long sleeves. The interlace and dot motifs on f. 130r's legs may be embroidery. Embroidered garments were a status symbol in early medieval Ireland (Dunlevy 1989).

Left to right: Book of Kells folios 130r, 97v, 292r

A couple of sculptures in County Fermanagh might sport depictions of Irish tattoos. The first, known as the Bishop stone, is in the Killadeas cemetery. It features a carved head with 2 marks on the left side of the face, a double line beside the mouth and a single line below the eye. These lines may represent tattoos.

The second sculpture is the Janus figure on Boa Island. (So named because it has 2 faces; it's not Roman.) It has marks under the right eye and extending from the corner of the left eye that may be tattoos.

I cannot find a definitive date for the Bishop stone head, but it bears a strong resemblance to the nearby White Island church figures. The White Island figures are stylistically dated to the 9th-10th centuries and may come from a church that was destroyed by Vikings in 837 CE (Halpin and Newman 2006, Lowry-Corry 1959). The Janus figure is believed to be Iron Age or early medieval (Halpin and Newman 2006).

Conclusions:

Despite the fact that tattooing as a custom in the British Isles lasted for more than 500 years and was practiced by at least 3 different cultures, written sources remain our only solid evidence for it. With only a dozen sources, some of which probably copied each other, to cover this time span, there are huge gaps in our knowledge. The 4th century Picts may not have had the same tattoo designs, placements or reasons for getting tattooed as the 8th c. Irish or Anglo-Saxons. These sources only give us fragments of information on who got tattooed, where the tattoos were placed, what they looked like, how the tattoos were done, and why people got tattooed. Further complicating our limited information is the fact that most of the text sources come from foreigners and/or people who were prejudiced against tattooing, which calls their accuracy into question.

'The Cauldron of Posey' is one source that provides some detail while not showing prejudice against tattoos. The author of the poem was probably Christian, but the poem appears to have been written at a time when Pagan practices were still tolerated in Ireland. I have a complete translation of the poem along with a longer discussion of religious elements here.

Leave me a tip?

Bibliography:

BBC (2024). Bellaghy bog body: Human remains are 2,000 years old https://www.bbc.com/news/uk-northern-ireland-68092307

Breatnach, L. (1981). The Cauldron of Poesy. Ériu, 32(1981), 45-93. https://www.jstor.org/stable/30007454

Carey, J. (1997). The Three Things Required of a Poet. Ériu, 48(1997), 41-58. https://www.jstor.org/stable/30007956

Carr, Gillian. (2005). Woad, Tattooing and Identity in Later Iron Age and Early Roman Britain. Oxford Journal of Archaeology 24(3), 273–292. https://doi.org/10.1111/j.1468-0092.2005.00236.x

Cowie, T., Pickin, J. and Wallace, T. (2011). Bog bodies from Scotland: old finds, new records. Journal of Wetland Archaeology 10(1): 1–45.

Cunliffe, B. (1977) The Romano-British Village at Chalton, Hants. Proceedings of the Hampshire Field Club and Archaeological Society, 33(1977), 45-67.

Dunlevy, Mairead (1989). Dress in Ireland. B. T. Batsford LTD, London. 

eDIL s.v. crechad https://dil.ie/12794

Giles, Melanie. (2020). Bog Bodies Face to face with the past. Manchester University Press, Manchester. https://library.oapen.org/viewer/web/viewer.html?file=/bitstream/handle/20.500.12657/46717/9781526150196_fullhl.pdf?sequence=1&isAllowed=y

Halpin, A., Newman, C. (2006). Ireland: An Oxford Archaeological Guide to Sites from Earliest Times to AD 1600. Oxford University Press, Oxford. https://archive.org/details/irelandoxfordarc0000halp/page/n3/mode/2up

Hoecherl, M. (2016). Controlling Colours: Function and Meaning of Colour in the British Iron Age. Archaeopress Publishing LTD, Oxford. https://www.google.com/books/edition/Controlling_Colours/WRteEAAAQBAJ?hl=en&gbpv=0

Lambert, S. K. (2004). The Problem of the Woad. Dunsgathan.net. https://dunsgathan.net/essays/woad.htm

Lowry-Corry, D. (1959). A Newly Discovered Statue at the Church on White Island, County Fermanagh. Ulster Journal of Archaeology, 22(1959), 59-66. https://www.jstor.org/stable/20567530

MacQuarrie, Charles. (1997). Insular Celtic tattooing: History, myth and metaphor. Etudes Celtiques, 33, 159-189. https://doi.org/10.3406/ecelt.1997.2117

McManus, D. (1988). Irish Letter-Names and Their Kennings. Ériu, 39(1988), 127-168. https://www.jstor.org/stable/30024135

Ó Floinn, R. (1995). Recent research into Irish bog bodies. In R. C. Turner and R. G. Scaife (eds) Bog Bodies: New Discoveries and New Perspectives (p. 137–45). British Museum Press, London. ISBN: 9780714123059

Pankova, S. (2013). One More Culture with Ancient Tattoo Tradition in Southern Siberia: Tattoos on a Mummy from the Oglakhty Burial Ground, 3rd-4th century AD. Zurich Studies in Archaeology, 9(2013), 75-86.

Samadelli, M., Melisc, M., Miccolic, M., Vigld, E.E., Zinka, A.R. (2015). Complete mapping of the tattoos of the 5300-year-old Tyrolean Iceman. Journal of Cultural Heritage, 16(2015), 753–758.

Story, Joanna (1995). Charlemagne and Northumbria : the influence of Francia on Northumbrian politics in the later eighth and early ninth centuries. [Doctoral Thesis]. Durham University. http://etheses.dur.ac.uk/1460/

Szacillo, J. (2012). Irish hagiography and its dating: a study of the O'Donohue group of Irish saints' lives. [Doctoral Thesis]. Queen's University Belfast.

Turner, R.C. (1995). Resent Research into British Bog Bodies. In R. C. Turner and R. G. Scaife (eds) Bog Bodies: New Discoveries and New Perspectives (p. 221–34). British Museum Press, London. ISBN: 9780714123059

Ware, C. (2021). A Literary Commentary on Panegyrici Latini VI(7) An Oration Delivered Before the Emperor Constantine in Trier, ca. AD 310. Cambridge University Press, Cambridge. https://www.google.com/books/edition/A_Literary_Commentary_on_Panegyrici_Lati/oEwMEAAAQBAJ?hl=en&gbpv=0

[dougielombax]

“bUt NAeBodY sPakeS iT¡ tiS a DEaD LAnguaGe, sHUrE¡ WHiT’s tHe PoiNt? Let iT DiE.”

Okay.

Okay.

Could you perhaps tell us WHY the language you fear so greatly is threatened or dead?

No. Do go on.

Tell us.

Why is it dead? What happened to those who spoke it? Why weren't they able to pass it down the generations?

Why is this so?

Because they sure as shit didn’t just stop speaking it for the sheer hell of it!

You don’t know?

Oh dear.

No it’s not natural.

And it’s not about nativism, you daft shite!

Imagine being scared of a language!

Why does it threaten you so?

Why do you act like it shakes the foundations of your state?

Tell me.

Pathetic!

…

Many such cases.

MANY such cases!

[amylouioc]

Sétanta & the Hound 🐺🩸

This print is exclusive right now to my monthly postcard club! If you’re interested in art and learning more about Irish myths and folklore, consider checking it out here.

Sign up before end of July 2024 to get a print!

[meduseld]

On the other hand, if Roach was Irish he and Soap can do the handshake meme of colonized national going "just when you thought you hit rock bottom you want to fuck a blond English guy" and Ghost didn't even plan for this it Just Happened.

[q-soc-official]

Daily Irish Lesson 14

To say 'I love you' in Irish we say 'Tá mé chun tú a mharú'

Pronunciation: taw may kun too ah vah-roo

[modark]

The Bardic Tradition

I made a long thread explaining in detail all the symbolism in this piece when I first posted it. That's lost to time now, thanks Elon. I'll try to rewrite it to the best of my ability in an abridged form.

The basic gist is that its a visual representation of the ancient Gaelic bardic tradition. Seated in the center is St. Colmcille, composing an old Irish hymn to St. Brigid, "Brigit bé bithmaith". He is holding hazel nuts, symbols of knowledge / inspiration in Irish legend. On the two pillars on either side of him are King David (left) and Orpheus (right), two famous poets from antiquity. Two legendary poets from Irish legend, Oisín and Amergin, are situated above each pillar respectively. The two fish are seen swimming "upstream" (as in the legend of the Salmon of Knowledge) toward a sheela na gig, a architectural feature / grotesque of early Irish churches which some consider to be symbols of femininity, meant to ward off evil. At the top of the image, hands from a cloud (representing God) release a white dove (representing the Holy Spirit) down to St. Brigid. She owes her angelic appearance to her being considered both a pagan goddess and Christian saint. She is guarding a flame, which symbolises poetic inspiration, and which can be seen floating above the heads of all the other figures.

[childofflamesandmoonlight]

Which deities do you personally associate with change/transformation?

[hearthandheathenry]

All About Lughnasadh

Lughnasadh, also known as Lughnasa or Lúnasa, is the name given to the Gaelic festival that represents the beginning of the harvest season, which traditionally falls on August 1st in the northern hemisphere. The holiday is about halfway between the summer solstice and autumn equinox, and is one of the 4 Gaelic seasonal festivals. Although it is traditionally Irish, many neopagans celebrate the holiday as well.

Traditionally named after the Irish God Lugh, Lughnasadh has been documented to be celebrated since at least the middle ages and involved great gatherings, ceremonies, athletic games like the Tailteann Games, feasting, horse racing, matchmaking, trading, and more, and were traditionally celebrated on top of hills and mountains. The festival remained widely celebrated until about the 20th century, where it seemed to be replaced by Christian counterparts.

Lugh, the God the festival is named after, is said to have founded the holiday as a funeral feast and funeral games to commemorate the death of an earth goddess. The Irish stories vary throughout regions and times, but it usually involves a woman who is stolen away or held against her will and dies of grief, shame, exhaustion, or unspecified causes. There is notable similarities to the Greek Persephone tale. According to a tale about the Lughnasadh festival site Tailtin, it is said to be a funeral for his foster-mother, Tailtiu, who was said to have died from exhaustion after clearing the plains of Ireland for agriculture. A tale about the Lughnasadh site Naas, says the festival was founded in the memory of his two wives, Nás and Bói. Another theory states it was a mourning for the end of summer.

Máire MacNeill, a folklorist, studied the later lore of the holiday and claims it is about a struggle for the harvest between Lugh and another god, often named Crom Dubh. In some stories Lugh must seize Crom Dubh's treasure of grain to give to all of mankind. In other stories, it's over a woman named Eithne who represents grain. Othertimes, its a battle of Lugh defeating a figure representing blight. There doesn't seem to be one agreed upon legend, other than it's revolving around the God Lugh.

As for ancient customs and traditions, they can vary region to region and have morphed throughout time. However, a big tradition was the gathering at Óenach Tailten, a type of olympic style games and gathering where kings declared truces during the entire festival in order to partake and compete against eachother. It included ritual athletic and sporting competitions, horse racing, music and storytelling, trading, law-making and settling legal disputes, creating contracts, and even matchmaking. A common matchmaking tradition was allowing couples to enter a trial marriage that lasted a year and a day by joining hands through a wooden door, after of which they could make permanent or break without consequences once the trial marriage was up. One gathering, called the Óenach Carmain, also consisted of a food and livestock market along with a market for foreign traders.

Other traditions also included a solemn cutting of the first corn to be offered to the deity by bringing it to a high place and burying it, a meal for everyone consisting of the new food and blueberries, a sacrifice and rituals involving a sacred bull, a ritual dance-play, reenactment of the lore, and closing ceremonies. Climbing hills and mountains were also a popular tradition, but has been rebranded overtime as Christian pilgrimages. At some gatherings, everyone wore flowers and climbed a hill, where they buried said flowers at the top to signify the ending of summer. At other gatherings, the first sheaf of harvest was buried instead.

A popular tradition up until about the 18th century were faction fights where young men fought eachother with sticks. One such game consisted of building towers of sod topped with a flag to defend from the other team's sabotaging. Bull sacrifices were also recorded into the 18th century, being used as offerings to various deities, along with special meals made from the first harvest. A special cake called the lunastain was also recorded. Visiting holy wells was also a very prominent tradition, just like during the other yearly festivals. Although bonfires were associated with Lughnasadh and the other main Celtic festivals, they were considered rare for this holiday, most likely due to the very warm summer temperatures.

Some traditions are still celebrated today in Ireland, with festivals being held in honor of Lughnasadh and re-enactors and historians reviving and teaching new generations old lore. There are still markets, traditional dancing, traditional storytelling, arts and craft workshops, feasting, and much more during these modern gatherings, keeping the traditions alive and well, even if they differ region to region. Some pagans and Wiccans also celebrate Lughnasadh, usually differing in their practices, but still using it as a signifier of the first harvest and summer's ending.

Lughnasadh Associations

Colors - yellow, orange, red, brown, green, gold, bronze

Food - blueberries, blackberries, grains, fruit, vegetables, bread, corn, beef, stews, lamb, wine, beer, cider, fruit drinks

Animals - bulls/cows, roosters, sheep

Items - scythes and harvest tools, grain/corn stalks

Crystals - citrine, aventurine, tigers eye, carnelian, topaz

Other - sporting/athletic competitive games, storytelling, matchmaking, cycle of life, harvest

Ways to celebrate:

gather blueberries or blackberries

enjoy grains or breads

make homemade bread

have a feast

climb a hill/take a pilgrimage

offer food to your deity(ies)

commit or recommit to your partner

harvest fresh food from your garden

visit a farmers market

complete a craft or make art

participate in an athletic competition or game

[an-spideog]

Calling Irish "Gaelic" is fine actually

I used to think it was just a thing that uninformed Americans did, but I was wrong, so let's talk about it.

There are Irish people (notably, native Irish speakers) who call it "Gaelic", when speaking English. (All video clips are timestamped, but it seems like timestamps don't work on mobile? So I'll write them as well) 8:27

4:36

In the name for the language in Irish varies across the dialects, but in Donegal, it's usually said as "Gaeilic"*, as you can hear here. (Bhí an Ghaeilic thar timpeall achan áit)

0:32

Or in the recording here from teanglann.ie:

It's fine to call it "Irish" as well, or "Irish Gaelic", but there's nothing wrong with just saying "Gaelic".

Notes

*I spelt it as Gaeilic for the sake of showing the pronunciation here, but really this comes from Gaeilg with the final consonant being devoiced in a similar way to how you see with Pádraig -> Pádraic

Some people will argue that you shouldn't call it "Gaelic" because there are several Gaelic languages, and it lacks specificity. It's true that it lacks specificity, but that is also how they're spoken about in the Gaelic languages themselves, e.g. "Gaeilge na hÉireann, Gaeilge na hAlban, Gaeilge Mhanann" (The Gaelic of Ireland, The Gaelic of Scotland, the Gaelic of Man) in Irish. There was, and still is to some degree, mutual intelligibility between these languages/dialects and it should be remembered that the difference between language and dialect is largely political.