What Are Dreams and How Do They Relate to Prophecy? A Clear Guide to Oracles, Omens, and Divination

Ever wake from a vivid scene and feel it carried a message? Dreams invite that feeling. They arrive as images, ideas, emotions, and sensations that play in the mind during sleep, and they linger as whispers from somewhere deep. Across history, people linked dreams to prophecy, oracles, omens, and divination. They kept logs, sought interpreters, and listened for hints of fate.

Science has a name for the study of dreams: oneirology. It looks at sleep stages, brain activity, and recall. It asks how dreams work, not what they mean. People, on the other hand, often treat dreams as signs. This piece offers a balanced view. You will get the simple science of REM sleep, a brief tour of history and faith, and practical ways to work with dreams today, without fear and without fooling yourself.

What are dreams? Simple science of REM sleep and oneirology

Dreams mostly unfold during REM sleep, a stage marked by fast brain waves and quick eye movements. The body rests while the mind lights up. In this state, we see faces, landscapes, and stories that feel real, even when they twist beyond logic. The drama can be joyful or grim, playful or heavy with warning. Many scientists think dreams help with memory, problem solving, and emotion regulation, yet there is no single answer that covers every dream.

Oneirology is the branch that studies dreams and sleep. It looks at mechanisms, patterns, and recall. It does not tell you what your dream means in a prophetic sense. When people seek meaning, they reach for another tradition, the one that includes prophecy, oracles, omens, and divination. The two can sit together. Science explains how dreams form, while culture and story explain why some feel special.

Why do some dreams feel like prophecy? The brain is a pattern maker. It stitches pieces of memory together and tests them against possible futures. The result can feel like a warning or a hint. Often it is the mind working on a problem. Sometimes it hits on something true, and that shock creates a lasting impression. This does not prove a message from beyond, but it explains why many find dreams convincing.

How the brain makes dreams during REM sleep

During REM sleep, eye movements become rapid, breathing shifts, and brain activity rises near waking levels. Visual areas spark vivid images, while emotion centers like the amygdala turn up. Prefrontal regions that handle control and planning can quiet down. That mix can make dreams intense and strange, charged with feeling but light on checks and balances. The story feels deep, even when it bends time or place.

Oneirology explained in plain words

Oneirology is the scientific study of dreams. Researchers measure sleep stages, track brain waves, monitor muscle tone, and compare dream reports. They look for links between REM periods and memory or mood. They test how stress or drugs change recall. Their focus is process and structure, not prophecy, omens, or oracles. In short, they ask how dreams work, not whether a dream predicts the future.

Why dreams feel meaningful even without prophecy

Dreams pull from recent events, old memories, hopes, and fears. They blend details into symbols that carry personal weight. The brain seeks meaning by design, so it spots patterns even in noise. A single image, like a flood or a broken bridge, can land as an oracle because it matches a concern you already carry. That felt sense matters, yet it does not prove the dream is a forecast.

Dreams as prophecy across history: oracles, omens, and divination

Cultures across the world turned to dreams for guidance. In ancient Mesopotamia, people kept dream lists that matched symbols to outcomes. In Greece, seekers visited sanctuaries and sometimes slept near sacred sites to invite a message. In the Hebrew Bible, Joseph read Pharaoh’s dreams and warned of famine. The thread runs long and strong, with dreams treated as signs from gods, ancestors, or fate.

It helps to sort terms. An omen is a sign read from events or nature. An oracle is a message delivered through a seer or a sacred place. Divination is the broader set of practices used to gain insight. Dreams can serve any of these roles, depending on culture and method. In some cases, a dream is an omen that a trained interpreter decodes. In other cases, it is an oracle received in sleep near a shrine. In many households, dreams are a private form of divination.

Scholars document how widely these practices spread and how they shaped decisions. The study of Greek divination shows how public life and private fear met in structured rites and readings. For context on Greek practice, see the overview in Omens and Oracles: Divination in Ancient Greece. For a broader survey across cultures and time, Prophecies: Omens, Auguries, Divination, Oracles, Dreams, Apocalypse offers a visual and historical tour.

From Mesopotamian dream books to the Oracle of Delphi

In Mesopotamia, priests and scribes logged dreams on clay tablets and compared them with real outcomes. These lists trained readers to match signs and results. In Greece, seekers approached sacred places like Delphi or Epidauros. Some practiced incubation, sleeping in a temple precinct to invite a healing or a message. The idea that a dream could carry an oracle grew from these settings, and the custom spread through the Mediterranean.

Biblical and religious dreams that warned or guided

The story of Joseph in Genesis remains a standard example. Pharaoh dreams of thin cows devouring fat ones, and Joseph reads the image as seven lean years that will follow seven full ones. Food stores are built, and famine is survived. Many faiths record similar moments. Dreams arrive as warnings, calls to action, or comfort in crisis. For early modern views on apparitions and oracles, see the text hosted by the University of Michigan Library, An history of apparitions, oracles, prophecies, and predictions.

Jung, archetypes, and the idea of living myth

Carl Jung proposed that some symbols in dreams reflect shared human patterns. He called them archetypes, like the Shadow, the Wise Old Man, or the Great Mother. These figures move through old stories and modern lives alike. When such symbols appear in sleep, they can feel like a living myth at work, a retelling myth unfolding in the private theater of the mind. The effect is not only predictive, it is formative, shaping how a person sees change, loss, and hope.

How cultures read omens vs personal dreams

Public omens were often read by officials or cult specialists, then recorded and debated. Personal dreams belonged to one sleeper, yet could be treated as oracles if a community recognized the interpreter. Context mattered. A king’s dream could become state business. A farmer’s dream might guide planting or ritual. Across cases, meaning relied on tradition, method, and who had the authority to speak.

How to work with your dreams today without fooling yourself

A careful approach respects both science and story. Treat dreams as a source of insight, not as binding commands. Keep a journal, track symbols and emotions, and look for long-term patterns. If a dream feels like prophecy, test it with time and facts. Avoid big life changes based on one night’s vision. When dreams feed fear or worsen stress, seek help. When they feed art or problem solving, use them with care and joy. For a related look at sky signs as a cousin to dream reading, explore Cloud Omens and Prophetic Skies in Folklore.

Start a dream journal and spot useful patterns

• Write right after waking. Short notes beat perfect prose.
• Capture feelings, setting, and the first images you recall.
• Tag themes over weeks, like water, doors, or birds.
• Compare repeats across time instead of chasing one shocking scene.
• Mark life events beside entries. Notice how stress, travel, or illness shift tone.

Test any prophetic feeling with calm checks

• Wait a set period, like a week, for real events to unfold.
• Look for outside data. Does evidence point the same way?
• Ask a trusted friend to offer a second view.
• Avoid actions that would force the outcome by your own hand.
• Choose next steps that are safe and reversible, like gathering more facts.

Use dreams for creativity, not just prediction

Let a dream seed a poem, a sketch, a melody, or a plan. Use its mood to rethink a problem. Treat the images as a personal retelling myth, a story you can shape. When a symbol returns, explore it as part of a living myth that helps you grow. You do not have to prove prophecy to gain value. You can still make meaning and make art.

When to seek help for nightmares or anxiety

Talk with a professional if nightmares are frequent, violent, or tied to trauma. Reach out if you avoid sleep or lose daily function from distress. Evidence-based care can reduce nightmare frequency and improve rest. Share your journal if it helps. The goal is relief, better sleep, and a steadier life.

Conclusion

Dreams are a natural part of sleep, alive with symbols and feeling. Across time, people treated them as omens, oracles, and prophecy, and they used divination to make sense of them. Today, we can honor both oneirology and story. Keep a journal, look for patterns, and test bold claims with time and evidence. Let your dreams feed creativity and careful choices. If you’re curious about cultural practice, explore broader surveys like Prophecies: Omens, Auguries, Divination, Oracles, Dreams, Apocalypse. Your nights can hold wisdom, and your days can hold the reins.

The Morrigan

by Leaf McGowan, Technogypsie Productions, on December 28, 2013. © 2013: All Rights Reserved – www.technogypsie.net

Also known as The Phantom Queen (“Morrigan”), The Great Queen (“Morrigan”), “Morrigu”, “Morrigna”, “Morrighan”, “Mir-rioghain” (modern Irish), “Morrighan”, “Morgan”, “Mir Rigan”, “Morrigu”, “The Dark Fae Queen”

Goddess of Life, Death, Battle, strife, and sovereignty

Ancestry: Father was Aed Ernmas, Her mother was Ernmas and she has two sisters known as badb and Macha. Her sons were “Glon”, “Gaim”, and “Coscar”.

Corresponding Deity: “Nemon” (Venom), “Macha” (Battle and the Mother), “Fea” (Hate), “Badbh” (Fury); Anu; and “Anand”.

Associations: War, Life, Death, Dark Fae, Dark Elves, Ravens, Crows, the Earth, Mugwort, Yew Trees, Willow Trees, Quartz Crystals; strife, and sovereignty

Forms/Shape shifting: Hag, The Carrion Crow, eel, wolf, heifer, old crone,

Sacred Sites: Plain of Muirthemne (Dundalk, County Louth); Cave of the Cats (Roscommon, county Roscommon); River Unshin (Corann); “The Paps” hills in the North or The Di Chich na Morrigna (pair of hills) (‘two breasts of the Morrigan’) in County Meath; The Cooking Pit of the Morrigan (Fulacht na Mor Rioghna) burnt mound site in County Tipperary; and others.

Description: – The Morrigan, the Triple Goddess, known in modern film fantasy (such as “Lost Girl”) as the Queen of the Dark Fae goes far back to the origins of Irish mythology. She is depicted as a Faerie Queen as well as a Goddess. She was the Goddess of Death, Battle, Life, strife, War, and sovereignty. She resided in the Northern realms which were associated with that of the Earth, justice, and the Ancestral Dead. As a Triple Goddess she was also the Crone aspect of the Earth Goddess. The other aspects were “Macha” as the “Mother” and “Anu” as the “Maiden”. She was known to many as the Goddess of War, Life, and Death. She could take life as quickly as she could give life. She was often seen teamed up with the Furies : The Goddesses of War as “Fea”, “Nemon”, “Badbh” (as her three aspects) and “Macha”, “the Mother” who was also the “battle fury”. Indo-European translations suggest that the term “Morrigan” roots as meaning “terror” or “monstrousness” relating to the Old English “maere” meaning “nightmare”, Scandinavian “mara” or Old-Russian “mara” also meaning “nightmare” and “rogan” meaning “queen”. She was known as the “Great Queen”, “Phantom Queen”, and/or “Queen of Demons”. She was notorious for appearing before great warriors when their life was in danger offering them an alternative and assistance in exchange for a commitment, item, or duty. She was known to have appeared before Cuchulainn in a variety of forms. His father, the Dagda, was recorded to have made love to her during creation myths. Cuchulainn was said to have described her as a beautiful woman with streaming long hair, red eyebrows, and wearing a long red cloak and armed with a gray spear riding in a chariot. While he was in battle, she challenged him as an eel, wolf, old crone, and heifer. Other theorists claim the cult of the Morrigan can be tied into many of the other megalithic Goddess cults such as to Matrones, Idises, Dosir that appeared as triple Goddesses as well. Many of these inter-related to fate, death, and birth. Others say the Morrigan is more similar to Norse Mythology’s – the Valkyries as harbingers of death, using magic to cast blessings or curses on warriors and heroes and choosing who will live and die. She was a known shape shifter who could change form at will. One of her favorite battlefield shapeshifting forms is either the crow or raven. The Morrigan has also been accused of inspiring the Irish monnerbund groups who would band together as a group of young warrior-hunters who lived on the borders of society and participating in lawless activities before joining the mainstream when they got older. Some say these groups as well as the Fianna dedicated themselves to her and that she was their Matron. They would gather together at the infamous Fulacht na Mor Rioghn burnt mound sites and cook their hunted deer here somewhat in the like regard of the three hags who cooked the hound in the Cuchulainn myth. She is also seen as a guide to the Underworld or Otherworld, with mazes and passageways, tunnels and caverns leading not only to her lair, but those of Otherworldly entities and places. In this way she is seen as a a dark Queen of the faerie kingdom. She will choose the souls and spirits that she wants to guide down certain paths whether correct or incorrect in achieving their chosen destinations. She is known to use foul weather to cloak passageways or roads, with subtle mists or dense fog, storm clouds, thunder, lightning, or bezerk noises to misguide the traveler. As a Goddess of Sovereignty she is associated with the land and the earth, also as seen as the ruler of the land by granting victory and kingship to those she deems fit. According to myth, legend, lore, archaeology, and literary evidece she could have been the first and earliest of the tribal / territorial Goddesses in Ireland, whereas her connection to land, kingsip, and sovereignty was important if tribal land threatened.

Folklore: There are many Irish myths and legends involving the Morrigan, and this list is but a sampling: The Tain Bo Cuailgne, The Morrigan and Cuchulainn, The Battle of Muirthemne, Bres Mac Elatha and the Tuatha De Danann, The Hostel of the Quicken Trees, The Exploits of the Dagda, The Awakening of the Men of Ulster, The Morrigu, Cruachan, Dagda, The Courting of Emer by Lady Gregory, The Story of the Tuatha De Danann, and Donn Son of Midhir to name a few. In the “Battle of Mag Tuired” (Cath Maige Tuireadh), the Dagda comes across the Morrigan on Samhain at the river Unius where she is washing herself with one foot on each side of the river’s bank. It is said the river was formed from her urination. The Morrigan makes love to the Dagda just before he goes to battle with the Fomorians and they form a tryst. She promises him she would summon the great Druids of Ireland to cast a spell on behalf of the Tuatha De Danann destroying Indech, the Fomorian King, taking from him “the blood of his heart and the kidneys of his valour.” She was believed to have taken two handfuls of his blood and depositing them in the Unius river. As the battle is about to be joined, Lugh, of the Tuatha De Danann asks each of them what power they are bringing to battle … he was unable to interpret the Morrigan’s reply, but knows it involved pursuing, destroying, and subduing. In Battle she chants a poem that breaks the battle and the Fomorians are driven off into sea. After that, she chants another poem that celebrates the victory and prophesizes the end of the world. When she appeared before Cuchulainn as a beautiful red-headed warrior, he turned away her amorous attempts, and apparently in due form during his battles in the Ulster Cycle conflicted him as a heifer, eel, wolf, and old hag. During his battle at Muirthemne, she appeared to him as three crones who were roasting a hound on a rowan spit. He was not to eat of the meat for his namesake was after the hound. Eating such would be forsaken and represent the day he dies. The crones shamed him into eating the tabooed flesh and that led to his death in battle that same day. The Morrigan transformed to the form of a black crow, flew to his corpse, and sat on his soldier so that the enemies knew he was truly deceased. Another Cuchulainn’s death tale depicts Cuchulainn encountering the Morrigan as a hag washing his bloody armour in a ford prophesizing his death. After this, Cuchulainn holds himself up tied to a standing stone with his own entrails so he could die standing upright and it is in this pose that the Morrigan transformed as a crow lands on his shoulders so all knew he was dead. Another tale talks of the Morrigan appearing as an old crone trying to cross a stream in front of Diarmuid O’Duibne. No one in Diarmuid’s company took pity on her except he, and went to the stream carrying her across the water on his back. During this act, she transformed into a beautiful tall sidhe woman who was from Tir na nog. She blessed him with the gift that no woman could ever resist his look or refuse him. A woman named Grainne fell in love with him causing him to gain the wraith of Fionn Mac Cumhaill who was also trying to woo’ her. Another legend tells about the Morrigan luring away Odras’ bull. Odras then follows her to the Otherworld through the cave of Cruachan. The Morrigan discovering this, awaits for Odras to fall asleep and then turns her into a pool of water. I’ve always wondered if this “cave of Cruachan” is the “Cave of the Cats” in Roscommon, and if the the pool of water just beneath the rockfall leading up to a hole and passage to the Morrigan’s house is poor old Odras?

just by the pool’s edge, before the shamble
up to the Morrigan’s Home
Cave of the Cats, Rathcroghan, Ireland

History: The earliest manuscripts referring to her are in the 8th century O’Mulconry Glossary saying that “Macha” is one of the three “morrigna”. 9th century Latin Vulgate translation of the Book of Isaiah as the Lmaia translating to Herbrew Lilith, described in the glosses as “a monster in female form, that is a morrigan”. The 9th century C.E. Cormac’s glossary also describes her as does a gloss in the H.3.18 manuscript of “gudemain” meaning “spectres” with a plural form as “morrigna”. The earliest account depicting the Morrigan as an individual was during the Ulster Cycle stories where the tale between her and Co Chulainn are told in the Tain Bo Regamna (“The cattle Raid of Regamain”). In the 12th century texts known as the “Mythological Cycle” she is also described and told tales about. In the “Lebor Gabola irenn” she is listed amongst the “Tuatha De Danann” as a daughter of Ernmas, granddaughter of the Nuada. In the Mythological Cycle, Ernmas is said to have three sisters known as uriu, Banba, and Fodla which are synonyms for Ireland and were married to Mac Cuill, Mac Cocht, and Mac Graine, the last three Kings of Ireland that were Tuatha De Danann. Ernmas had three daughters who were Badb, Macha, and the Morrigan that were described as being “wealthy”, “springs of craftiness”, and “sources of bitter fighting”. The Morrigan was also referred to as being named “Anand”. She had three sons, “Glon”, “Gaim”, and “Coscar”. The 17th century “History of Ireland” by Geoffrey Keating stated the oriu, Banba, and Fodla worshiped Badb, Macha, and the Morrigan respectively. The 1870 publication of “The Ancient Irish Goddess of War” by W.M. Hennessey was very popular in dressing the Morrigan as a war or battle Goddess. She was also at times linked with the Banshee because of her raven or crow-like shape shifting image and her involvement with foretelling omens, oracles, and prophesies involving certain warrior’s and hero’s violent deaths, just as the Banshee do. The scholar Patricia Lysaght states that “In certain areas of Ireland this supernatural being is, in addition to the name banshee, also called the badhb.” It was through this interpretation that the Morrigan was known not only to cry out imminent death but also the outcomes of war.

Present-day Rites and Rituals:

Many Neo-Pagans today celebrate, worship, honor, and pay tribute to “The Morrigan”. This can be found in many different Pagan traditions such as Druidism, Wicca, Witchcraft, and Celtic Shamanism. Sometimes she’s included in ceremonies with other Deities, while others actually set up permanent shrines in her honor. These shrines sometimes have items sacred to her such as a bowl of brine and blood, raven or crow feathers, red cloth, menstrual blood, and anything else that represents life and death, fertility and war, the crow, or mythology associated with her. Some modern-day Morrigan cults suggest that the rites be kept sweet and simple, to encompass her mythos, and add in elements of her symbology. They say when you fee her presence to offer her something of value to you such as your blood, hair, or favorite beverage. She is infamous attendee of initiations regardless of being a birth, a death, transformation, or a commitment. Some ritualists call the Morrigan down into their cauldrons in order to gain her prophecy or wisdom there.

Bibliography / Recommended Reading / References:

• Bradley, Marion Zimmer “The Mists of Avalon”.
• Coru Cathubodua undated “The Morrigan”. Website referenced on 12/28/13 at http://www.corupriesthood.com/the-morrigan/.
• Davidson, H.R. Ellis 1988 “Myths and Symbols in Pagan Europe”. Syracuse University Press: New York.
• Dee, Danielle undated “Encyclopedia Mythica: Morrigan”.
• Denosky, J. 2005 “The Morrigan, the Celtic Goddess of Death “. Website referenced on 12/28/13 at http://www.faerie-world.org/tales/deathgoddess.html.
• Graves, Robert “The White Goddess”.
• Johnson, Honor undated Druidry.org: “Morrigan”. Website referenced 12/28/13 at http://www.druidry.org/library/gods-goddesses/morrigan.
• Joyce, James “Finnegan’s Wake”.
• King, John “The Celtic Druid’s Year”.
• Matthews, Caitlin & John “The Arthurian Book of Days”.
• N� Dhighe, Danielle 1997 Mythical Ireland:”The Morrigan”. Website referenced 12/28/13 at http://www.mythicalireland.com/mythology/tuathade/morrigan.html.
• Rees, Alwyn and Brinley 1994 “Celtic Heritage”. Thames & Hudson: New York.
• Ross, Anne 1967 “Pagan Celtic Britain”. Rutledge and Kegan Paul: London.
• SHee Eire undated Magic and Mythology: The Morrigan. Website referenced 12/28/13 at http://www.shee-eire.com/Magic%26Mythology/Gods&Goddess/Celtic/Goddess/Morrigan/Factsheet1.htm.
• Wikipedia: The Free Encyclopedia unknown date “The Morrigan”. Website referenced 12/28/13 at http://en.wikipedia.org/wiki/The_Morr%C3%ADgan.