divination: the _imbas
forosnai_, _teinm loida_ and _dichetal di chennaib cnaime_. The first
two of these were forbidden by Patrick, but they seem to have survived
as late as the 10th century. Part of the tremendous influence exercised
by the _fili_ was due to the belief in his powers of satire. By reciting
a satirical poem or incantation he was able to raise blotches on the
face of and so disfigure any person who aroused his displeasure.
Numerous cases of this occur in Irish literature. The origin of the
science of the _fili_ is sometimes traced back to the _Dagda_, one of
the figures of the Irish pantheon, and they were held in such esteem
that the annalists give the obituaries of the head-ollams as if they
were so many princes. With the introduction of Christianity they seem to
have gradually superseded the druid, and their functions are therefore
very wide. We are told that they acted in three capacities: (i) as
story-tellers (_fer comgne_ or _scelaige_); (2) as judges (_brithem_),
including the professions of arbiters, legislators and lawyers; (3) as
poets proper (_fercerte_). We are here only concerned with the _fili_ in
his capacity of story-teller and poet. In accordance with the minute
classification of the various ranks of society in early Ireland, the
social status of the literary man was very carefully defined. The
degrees vary slightly in different documents, but the following list of
ten from the _Senchus Mor_ is very instructive: (1) The highest degree
is the _ollam_ (ollave), who knows 350 stories; (2) the _anruth_, 175
stories; (3) the _clii_, 80 stories; (4) the _cana_, 60 stories; (5) the
_doss_, 50 stories; (6) the _macfuirmid_, 40 stories; (7) the
_fochlocon_, 30 stories; (8) the _drisac_, 20 stories; (9) the _taman_,
10 stories; (10) the _oblaire_, 7 stories. In LL. we are told that the
stories (_scel_) are divided into primary and secondary, and that the
latter are only obligatory on the first four of the grades enumerated.
Again, certain styles of composition seem to have been the monopoly of
certain grades. Thus the poem which was most highly rewarded and
demanded the highest technical skill was called the _anomain_, and was
the exclusive right of the _ollam_. A notable instance of this kind of
composition is the _Amra_ of Columba, attributed to Dallan Forgaill. The
higher grades were allowed a number of attendants, whom the kings had to
support along with the poet himself. Thus the _fochlocon_ ha