Coelbren Ar Beirdd

by Serenwen

The authenticity of the Coelbren is a subject that has been the cause of much controversy. This is due to the origins of the system having no certain historical point at which they can be said to have been created. Instead their origins are lost in the mists of the antiquarian movement peopled by such characters as the famous, and for some infamous, Iolo Morgannwg. One Welsh magical tradition that collectively refer to themselves as the Gwyddon state that they can prove a lineage that is unbroken for the past eighteen generations. The problem with this is that the group is a closed hereditary group and as such will not produce any documentation that would corroborate this and so we cannot definitely say that this claim is true. However this does not mean that the claim is false, it is rather that as with so many aspects of modern Paganism generally and Druidry specifically these things must be taken upon faith and the individual must decide. However, the name Gwyddon provides some interesting food for thought. In old Welsh it is a term applied to a Witch, but it is also the title for the Arch Druid, in some older Druid literature, and a literal translation interprets it as 'Wood Learning'. The term Coelbren also has several possible translations. In Welsh it is usually translated as 'Wood Memorials', and it is most frequently found in the phrase 'Y Coelbren Ar Beirdd' meaning 'The Wood Memorials of the Bards'. It seems likely that at some point in the past, whether the more recent past of the Druid revival of the eighteenth century or quite possibly before, it was an alphabet utilised by the Bards in much the same way as the Ogham alphabet. One of the most detailed descriptions of the origins of the Coelbren (there are many different versions) and the most easily available in modern literature appears in The Ancient Bards of Britain by D. Delta Evans (1906 Educational Publishing Company). It is quite lengthy and is in part reproduced below:

"Tradition has it that in the far, far remote past, when no-one and nothing existed,, Great Spirit articulated the Divine Name: and simultaneously with the word all creation sprang into being, repeating three times the Divine Name in a subdued but distinctly melodious and sweet voice. Menu, the first person, heard that voice, and perceived the Three columns of Light. So Menu took three quicken-ashes and formed them into a picture of what was conceived to be the symbol of the Divine Name. And the symbol of that voice thrice sounded was ... /|\"

This symbol should be immediately recognised as the Awen that is an everyday part of Druidry. The practice of sounding the Awen three times in Druid rituals takes us straight back to the myth above, and this may indicate that the myth and the practice of sounding the Awen are at least as old as each other. As with many aspects of modern Druid practice it is uncertain exactly when these practices began but it would suggest that the Coelbren are at least as old as the Druid revival of the eighteenth century - making the Coelbren at least two or three hundred centuries old. The commentary by Delta Evans continues: "/|\ is sometimes referred to in the Triads as the Three columns of Light and the Three Columns of Truth as 'Nothing can be known of the Truth save through the Light which is shed upon it'".

According to oral history the early pioneers of the Coelbren discovered that /|\ was capable of expansion into other forms through being broken down into its component parts, and reformed in different ways. How this was accomplished has unfortunately been lost but this does not mean that it cannot be refound through careful meditation and study. After all the Awen is inspiration and as the first symbol within the Coelbren this would seem to be a fitting start to any such project. One of these early pioneers, Einigan, was able to evolve the first symbol into a further ten characters representing the letters A P C E T I L R O and S (see chart). These were kept secret until the reign of Beli the Great when another eight characters were added, these being M N B Ff G D U and Dd.Over time another five were added sporadically (W F Ch Ll and H) and it was in this state when the Roman invasion began being mistaken by Julius Caesar for Greek. It fell into disuse thereafter due to the growing importance of Latin, especially after the later Roman conquest. However it experienced a renaissance around the second or third century A.D. and was improved until it numbered forty-four, in which state it remained until the Middle Ages.

Whether or not this mythological history is correct or not is uncertain. Due to no written records surviving from these times it is impossible to say what system of writing was used. However, it does tally in part with modern views of the Coelbren. These views fall into three parts. It is possible that the Druids who had access to 'Greek Letters' altered them over time, or that Nennius created them in response to a jibe made by a Saxon over the superiority of the Anglo-Saxon Runes when compared to Ogham. The most favoured explanation is that our old friend Iolo Morgannwg formed them in his search and consequent 'channelling' of ancient Bardic wisdom. Whatever may be the case the argument that Caesar overlooked the Coelbren thinking that the Druids were using the Greek alphabet is enigmatic and persuasive. Enigmatic as it cannot be proved archaeologically, and yet persuasive due to a re-examination of classical sources. One idea put forward by John Daniel in The Philosophy of Ancient Britain is that the Druidic doctrine was written down as the Romans carried out its decimation of the Druids. This may well have some validity. Caesar comments that "Generally, in other cases (apart from passing on religious doctrine), and in their public and private accounts, they use Greek letters" (De Bello Gallica). However, "From a number of sources it may be gathered, that although there was a likeness between the letters used by continental Druids, and those of the Greek, yet they were certainly not identical" (Daniel). Other more tenuous links support this idea. Plato refers to the Hyperborean alphabet and the Celtae were the Hyperboreans to the Greeks. And Strabo comments on the Turditani, "These are the wisest amongst the Iberians. They have letters, and written histories of ancient transactions, and poems, and laws in verse, as they assert, six thousand years old". According to Xenophon those letter that were supposed to have been brought out of Phoenicia into Greece resembled Gaulish rather than Phoenician characters. This may mean that the Coelbren may be older than the Greek alphabet, though it must be stated that this is pure conjecture. It is more likely that they share a common origin, especially when other ancient European alphabets like Etruscan and the Runes are considered.

One of the problems is the total lack of written evidence within archaeology. The Ogham script was seen as associated with the older races within the Irish mythological cycles and as such the many Ogham monuments do not fit into the picture of ancient Celtic literacy. However, it may be that such books existed but have been destroyed and lost over the past two thousand years. St. Patrick is reputed to have systematically destroyed Druidic literature, including works with such titles as 'The Stones of Gwyddon' (See Lewis Spence The Magic Arts in Celtic Britain). No one can say what may have been contained within these resources, but it is certainly unfortunate that the early Christian Church carried out such activities.

The idea that Nennius created the Coelbren in response to the criticisms of the Saxons in the eighth century also holds a certain credibility. In the Bodlean library in Oxford there is a manuscript that confirms this tale, dated A.D. 817. This would also correspond to the idea that the Druids did not have their own system of writing in antiquity, which is the standard archaeological view. It also has clarity as the Coelbren do look similar to the Runes, which is usually one of the main criticisms aimed at them. But if Nennius used the idea of the Runes to create a Celtic equivalent, a direct combination of the method of writing Runes as opposed to the Ogham and the associations which the Ogham are traditionally associated with, it would seem likely that they would share similarities. Against this though is the simple fact that there are only so many ways of making up letters. Either a series of straight lines must be used, especially when working with the practicalities of marking wood or stone, or curved lines that are really only practical with paper and ink technology. Thus there would have to be some aesthetic similarities between the two alphabets. Even if this is the origin of the Coelbren it still points to the fact that the Coelbren have been in existence since the eighth century.

The last of the three starting points rests upon the creative or channelling genius of Iolo Morgannwg. It may well be that it was he who devised the system to fill the gap in Celtic literacy that he felt existed but had been lost. This is usually the interpretation favoured by those who think that the Coelbren are contrived and to explain the lack of any physical evidence that they existed before this point. Even so, this does not alter the fact that since Iolo's time the system has been in more or less continuous use and has now developed a considerable heritage in the process.

The whole point to examining the history of the Coelbren is quite simple. It gives a surety of authenticity. It is not a question of age, but usage. How old the Coelbren are makes no difference to the efficacy of the system, all it can do is settle the mind so that it can focus upon the Coelbren themselves. Enough of history. Each Coelbren glyph has several associations. As well as a pictorial element each has a specific sound, as well as a tree that it shares with the Ogham in some cases. Therefore each glyph can be used for either vocal or visual magical techniques, and act as mnemonics for a large amount of natural lore. It also means that they may be used for divination, and various techniques are discussed later. One of the problems that is encountered today when using the Coelbren is that not all retain associations. Out of the forty-four that are in existence only sixteen have associations that can be traced back to the turn of the eighteenth century (see Edward Davies Celtic Researches). However, some people have reasoned that the associations of the different Coelbren glyphs should be comparable to those connected to the Ogham script by virtue of the similarity in the systems. For many, Ogham is an earlier system that was the forerunner of the Coelbren and as such the only difference between the two is the language in which they have been preserved. This may be the case though it would seem that there are at least two distinct versions of the Coelbren, both being different to Ogham, and only one of which is immediately available to anyone wishing to use the system. For this reason both sets that are available, one loosely connected to Ogham and the other more traditional Coelbren system, are reproduced and it is up to the individual which they choose. In effect this adds to the flexibility of the Ogham system in providing a more easily utilised method for writing, and still allows people to connect to the traditional form of the Coelbren if they so wish.

From Celtic Researches

(a) Silver Fir - Ffynidwydden.
Positive agency or state. Tendency forwards. Positive continuance.

(e) White Poplar - Aethen.
Sudden check. Interruption. Negative state or tendency.

(i) Yew - Ywen.
Application or direction. What approaches, is applicable. Subservient.

(o) Furze/spindle - Piswydden.
Casting off. Yielding. Emanation. Projection.

(u) Heather - Grug.
Circumference. Hollowness. Capacity. Penetrability.

(b) Birch - Bedwen.
Perception. Being to be, will be. What is.

(c) Hazel - Coll.
Holding. containment. Comprehending. Attaining to. Apprehending.

(d) Oak - Derwen, Dar.
Expanding. Sreading. Unfolding. Distribution. Division.

(l) Rowan - Cerdinen.
Solution. Effusion. Evanescence.

(m) Vine - Gwinwydden.
Comprehending. Including. Embracing. Surrounding.

(n) Ash - Onnen.
Object. Subject. Simplified.

(p) Pine - Pinwydden (Magpie*)
Pushing. Penetrating. Springing.

(r) Elder - Ysgawen.
Force. Superiority. Motion.

(s) Willow - Helygen.
Secret. Private marking. Insinuation.

(t) Holly - Celynen.
Limiting. Confining. Straining.
* The inclusion of magpie may point to a series of animal associations as well.

Here is the more contemporary system that has been pieced together through a combination of the Coelbren and Ogham scripts:

(a) Silver Fir - Ffynidwydden.
High views. Long sight.

(e) White Poplar - Aethen.
Helps rebirth. Prevents illness.

(i) Yew - Ywen.
Rebirth and everlasting.

(o) Furze/spindle - Piswydden.
Good at collecting. A magpie*

(u) Heather - Grug.
Links to inner self. All heal.

(b) Birch - Bedwen.
A new start. Beginning. Cleansing.

(f/v) Alder - Gwernen.
Oracular. Protective.

(m) Apple - Afallen.
Choice of beauty.

(p) Honeysuckle - Gwyddfid.
Hidden secret.

(ph) Beech - Ffawydden.
Old knowledge. Old writing.

(c/k) Hazel - Collen.
Intuition. Straight to the source.

(ch) Grove - Gelli.
Sacred place. All knowledge, past, present and future.

(g) Ivy - Eiddew.
The spiral of the self. Search for the self.

(ng) Reed - Corsen.
Direct. Action.

(t) Holly - Celynen.
Best in the fight.

(th) Spindle - Gwerthyd.
Sweetness. Delight. Sudden intelligence.

(d) Oak - Derwen.
Solid protection. Doorway to mysteries. Strength.

(n) Ash - Onnen.
Inner and outer world linked. Macrocosm and microcosm.

(l) Rowan - Cerdinen.
Protection against enchantment. control of the senses.

(Ll) The Sea - Mor.
The Sea. Travel. Material links.

(r) Elder - Ysgawen.
The end in the beginning and vice versa.

(s) Willow - Helyg.
Night vision. Lunar rhythms.Female aspects.

(h) Hawthorn - Dreanenwen.
Cleansing. Chastity. Protection.
* Again there is the inclusion of the magpie.

Despite the dissimilarities between these two systems they each have strengths in different areas and applications as a consequence. The first has more associations and links and as such may be better suited to divination, whereas the second being terser may be more applicable to magical and meditative techniques. Both may be used in similar ways to the Runes, such as combining two or more to create a Coelbren equivalent to Bindrunes. The use of the Coelbren is an individual activity. Whatever rules and conventions concerning their use have been lost and it is now a question of accessing the spirit of the Awen, the origin of the Coelbren, and following the guidance that this provides.

One system that was used in the past was the Peithynen or elucidator (see bottom of chart). This was a frame with revolving bars upon which the symbols could be cut. In many ways this device resembled an abacus, the difference being that instead of beads that slide horizontally, it has square cross-sectioned bars that rotate. These were made so that they had four sides and connected so that they all revolved together. As a result the frame consisted of four pages that were contained within the frame and which could be changed by rotation. These could contain whatever the author wished, with the Coelbren representing poetry, musical notes or perhaps mathematical and astrological data. An alternative means of working with the Coelbren is more direct and open to the influence of the Awen. This method requires a small ritual. Find a grove of trees and standing in the centre of this grove stand with the eyes closed and arms raised and incline the head towards the sky. Then think of the question to which an answer is required and then after intoning the Awen three times open your eyes. In the branches of the trees should be various Coelbren in different arrangements, these are read intuitively and form the answer to the question. This is not the end of the ways in in which the Coelbren can be used. For example the signs could be marked on cards, wooden discs of the appropriate trees or small stones and used in the same way as Tarot cards or Runes.

Practicum
Here are some further suggestions for working with the Coelbren: