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History and Ideals of Gaelic Traditionalism v 1.6
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Crane Magic by Iain MacAnTsaoir What Is Crane Magic: A topic that seems to generate much interest is'Crane Magic'. This form of magic is properly called córrguinech. Lugh was a practicioner of Crane Magic, and used this against the Fomorii at the second Cath Maig Tuired (1). In fact, its use in the lore is always martial in context (2). That Crane Magic is associated with the Druids and Filidh of old does not negate the martial applications. There are also examples in the lore of druids and filidh being, or having been, warriors. In addition, Fergus Kelly in The Guide To Early Irish Law makes a statement that helps define it as a magic that kills. Kelly writes: "...some of their sorcery was effected through córrguinech, a term which seems to mean 'heron (or crane) killing', and apparently involved the recitation of a satire standing on one leg with one arm raised and one eye shut (in imitation of a heron's stance?)."(3) Relics of Crane Magic - The Crane Bag: According to Lady Gregory's Gods and Fighting Men (4), the Crane Bag was owned by Manannan mac Lir (who is intrinsically connected with cranes). It was fabricated from the skin of Aoife after she was transformed into a crane. This bag contained treasures which were only visible at high tide (the bag was full at high tide and empty at low tide). These treasures include: Manannan's house, shirt, and knife; Goibniu's belt and smith's hook; the King of Alba's shears; the King of Lochlann's helmet; the belt of fish-skin; the bones of Asal's pig (the same pig which Lugh commanded the Sons of Tuirenn to retrieve in payment for their having killed his father). The Crane Bag was an object that, according to mythology, belonged to the Gods; as previously stated it belonged to Manannan, but passed to Cumal before coming into the possession of Fionn. There is no evidence that such a relic was actually employed by anyone other than the deific personages in lore. However, inside the lore, it was attached to warriors, even as Crane Magic was employed in a martial way. Thus, another name for the article in the lore is, the 'Treasure Bag of the Fianna' (5). Methodologies and Concepts In Crane Magic: As Lugh was a master of córrguinech, we can perhaps see some of the methodology involved at the Second Battle of Mag Tuired (Moy Tura). Here, when Lugh went against the Fomoriian king, he quite significantly assumed a one-legged, one-armed, one-eyed posture, and began hopping around on the one leg while reciting an incantation (6). According to Bruce Lincoln in Death, War and Sacrifice, through this ritual, Lugh took on properties of OtherWorldliness, gaining the power of that realm (7). It is interesting to consider the poetic meter in use as a part of a martial attack, and, as described by Kelly, a killing technique. The most basic meterical formula is (8):
7(3)a There have been those who have postulated that córrguinech was of a similar nature to (9). The glám dícind is a legal satire whose purpose is to move an offender back into conformity with the law (10). Theglám dícind was a ritualized recitation of the satire. From what is known, it is concluded that the rite saw the poet, in the company of his fellows, approaching a special tree. They would then recite the poetry to the tree while repeatedly bowing away from said tree. Form and methodology are certainly different. It can be seen though, that the prime difference would be between a satire or chant that was used for legal recourse on one hand, and martial purposes on the other. However, one can see the the term of firt filed, or 'poets spell' could encompass both córrguinech and glám dícind (11). Regarding the specified movements, it cannot go unoticed that the lore includes movements that can be assigned to dance, as well as chanting to the working. Dancing and chanting - things popularly ascribed to 'shamanism' - are plainly evident, and perhaps indicate methods of achieving alternative states of awareness (12). Conclusion: Let us suppose that there was a magical school of thought that taught córrguinech. Let us further suppose that we would wish to return this formulary to its traditional place. We do not have any known survivals of the exact meters used in córrguinech, nor do we know what items could possibly have been used as icons for the nine items found in the bag. In addition, we do not know what the form of the dance would have been, the rhythyms danced to, if any, or several other things. All is not lost though. On one hand, we can see just how certain concepts were woven throughout the collective philosophical mind of the ancestors. On the other hand, there may be enough left for those so interested to begin in-depth studies and experiential research. As a humorous side note, we also know that, regardless of the exact form of the dance, it would have required enormous exertion with a physically fit body. Of course , thanks to Strabo, we also know that to those generically called 'Celts' being unfit was grounds for fines (13). It is notable that there are nine items in the 'Crane Bag', and that the items were visible only at high tide. According to the Ree's brothers in Celtic Heritage , the use of 'sevens' was as common as the the use of 'nines' in the ancient culture (14). Looking at the uses of the nines and sevens, we see that they relate to the elements of the cosmos. By way of the concepts about macrocosm/microcosm, they also relate to the various elements of the cosmos as they exist within our beings. Lincoln also addresses this (15), and I do too in the work on the Nine Duile, (16). From these, it could be easily surmised that the bag and its contents were directly attached to concepts of the duile. Perhaps to the deific worker, the bag was was the cosmos itself. Therefore, the pracitioner could, at least in their minds, wield the very elements against their enemy. Also, the significance of the tides would seem to insinuate a lunar principle. It no doubt shows that the art was worked at specific times of the day which are controlled by lunar influences. It would seem plausible that the use of meter in this case is similar to the formulary of the Celtic oath. Here, the very foundations of the world are called on to turn against an oath breaker. I therefore submit, that in essence, while the ecstatic dance is danced, with perfection of form, chants in perfect meter are being chanted. Thus working the very components of the cosmos against the enemy while in an alternate state of awareness, while working in the very realms of spirit itself. Taking all that has been stated so far, we can establish that córrguinech was a martial-magical art form. It utilized a set of postures that, to the practicioners, resembled the Crane. The basic form having been a matter of standing on one leg, utilizing one arm, and closing one eye. The movements of the form, as a magical form, was probably to attain an altered state of awareness. Furthermore, while the 'dance' was being enacted, verse was being recited. The incantation would no doubt be based on the basic meter. While there may have been a practice of this form in the physical world, it is less likely that an actual 'Crane Bag' was used. Though, that there was a physical ritual tool of this nature cannot be fully discounted. What we can be sure of though, is that, as the whole of the art was martial in nature, any such thing would not have been used as a Native American 'medicine' bag. Within the context of the culture, to use such an implement as a 'medicine bag' would have been rather like using a nuke as a Christmas tree light. Sources: prepared by Iain MacAnTsaoir |
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