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R: Our New Twitter Handle

Our New Twitter Handle

GEORGE KING·SATURDAY, OCTOBER 1, 2016

We are linking our Phonograms of Ogam and Runir blog

(http://ogamandrunes.blogspot.com/) to its own Twitter account. www.twitter.com/ogamandrunes @ogamandrunes Now as each new blog is posted a short URL will be sent out by this Twitter account to the World. Please remember to help support us by clicking on ads you see in out blogs; no need to buy, just lend a click and eyeball. It adds a few coins to the rice bowl each time.

Radio Code or Pan Code of Ogam

The Standard International Morse Radio Code.

Consisting of dot and dash or really short and long  keyed burst of carrier RF.
Dit and Daw



The Ogam code

For now  I will only address the original four Acimi.

(Where the heck did that P come from?)

We have four symbols used along a vertical or horizontal reference line.

1) a left side or down half length mark

2) a right side or up half length mark.

3) a oblique or diagonal full length mark crossing reference line and equal length on both sides of it.
4) a short dash , dot or full length mark perpendicular to reference line.

Each of these symbols is used to encode 5 letters or phonograms of sound by using one to five of them for each letter in the Acimi or family.

the four symbols could be encoded in two binary bits.

1a) 00
2a) 01
3a) 10
4a) 11

The Morse code dot could = 0
And the Morse code dash  = 1

Giving a two symbol code for each symbol of the Ogam Acime / families.

Requiring it to be repeated 1 to 5 times per Acimi letter position. For transmission in dot dash form.

While obviously a four sound or notes (Frequency, duration and or level) transmission would
be baud-rate more efficient. The two state binary code lends itself well to the simple More Code modulation method of hand keyed carrier signal on or off.

And allows us to have a easy way, to transmit Ogam Alphabet .

Of course again this also brings to mind acoustical transmission methods like Drum of Flute. And with Flute one could use four or five five tones plus duration encoding.

Pan Ogam anyone ?

And yes Acoustical (Drum,Flute etc)  and  Solar Mirror or Torch light encoding of Ogam messages could have been put to good use by the Druids of ancient times.

Where they, well I guess you will have to ask them. LOL

TDK / The Druid King

Copyright George King 09-13-2016, except for images.

  

R: Old Norse Myths, Literature and Society

 Proceedings of the 11th International Saga Conference 2-7 July 2000,
University of Sydney
Edited by Geraldine Barnes and Margaret Clunies Ross

595 pages.

https://rafhladan.is/bitstream/handle/10802/9506/0000-all.pdf?sequence=1

B: THE OLD-NORTHERN RUNIC MONUMENTS 0F SCANDINAVIA AND ENGLAND Vol. lV (1901)

http://books.googleusercontent.com/books/content?req=AKW5QacFLsG7Od-9v2jFwZyWLZG8F6O_Qkll3lk2GvcSE_W5T2UdSRfEO_m4pexmHafr3luP8C-2DJut2OChRXx47sE--ir2Enm5sae73DOQviGEY4koiDKjnkT8vp5HCGWORC3uE_BcK8BrHV7fTEtivw8y-ZVM5naVACoaOA98pR2ewwLIN6Tm9Ou4o61BfDfvd70Zk6-QRItgUKaD-NeEtrh2FFG6RW0jUgRKCG0Mt_NjykJiI-0XbJ2nLzFdmRkdkCjGbHOYk3Wypi_acuIcKglfecj0_IWkQQKBiZoAurUwUea6JL8

Q: The Elder Futhark or Futharkh ???

So I have always seen the Elder Futhark spelled with the first six Runes of the first Aett, not the first seven. Bur Guido von List was and expert so what are your thoughts on this?

>>Without attempting to give evidence here of the great antiquity of the runes, which havedoubtlessly been found on bronze artefacts and pottery shards, it must be mentioned at thistime that the runic futharkh (= runic ABC) (the designation futharkh is based on the first seven runes, namely, or ; it is for this reason that the proper name is not futhark -- as it is generally and incorrectly written -- but futharkh, with the h at the end; for more about the  basis of this, see the
Guido von List Library number 6.

B: Greeks and Goths : a study on the runes

By:  Isaac Taylor, 1829-1901

I think you will want to add this one to you Free E-book collection!

http://www.archive.org/details/greeksgothsstudy00tayluoft

R: Runic scripture Eurasia

M. Turgay Kürüm
31 pages

http://www.kuzeyipekyolu.com/RunicscriptureEurasia.pdf

R: RUNES AROUND THE NORTH SEA AND ON THE CONTINENT AD 150-700; TEXTS & CONTEXTS

GEORGE KING·FRIDAY, AUGUST 19, 2016

I think some will find this work quite interesting. http://www.giusseppe.net/.../europeas/germanica/thesis.pdf

R: Historical - Chronological Transformation of the Runes.

As I am not by any means a expert in this important subject. I will just be sharing some Web Sites that cover it.

1) THE NORWEGIAN RUNES
http://www.arild-hauge.com/enruner.htm

2) THE SWEDISH RUNES
http://www.arild-hauge.com/esruner.htm

3) THE DANISH RUNES
http://www.arild-hauge.com/edruner.htm

4) THE RUNES OF GREENLAND
http://www.arild-hauge.com/egronrun.htm

5) THE GERMANIC RUNES
http://www.arild-hauge.com/egruner.htm

6) ANGLO-SAXONS RUNES AND ANGLO-SAXONS RUNIC INSCRIPTIONS
http://www.arild-hauge.com/eanglor.htm

7) THE ELDER FUTHARK
http://www.arild-hauge.com/efuthark.htm

R: Runic Tally Numbers Counting Numbers Gematria Chair

082316a

A list of some Web resources on the Subject, to start us off on this Chair.

1) Numbering (Gematria) & The Runes
http://blackhillsspirit.tripod.com/id31.html

2) The Viking Lady gives us a detailed explanation of the  subject. +++
http://www.vikinganswerlady.com/numeric-reckoning.shtml

3) Runic Calendar
http://www.arild-hauge.com/runekalender.htm

4) COMPUTUS RUNICUS 

The Runic Calender From Gotland From
Described by Ole Worm
http://www.arild-hauge.com/computus_runicus.htm

a Test

R: The Kewelristar Runes Course. Triple Plus rating

A most soup to nuts Rune Course. Covers the Rune Poems, making your own runes (With Rituals) and detailed castings layouts etc.
Best to use a off-Line Browser like Wn HTTtrack to capture it all or be sure and number web pages as you save them, as the all have the same filename.
http://kewelristar.tripod.com/tru/poems.html

R: AN EXCURSUS ON THE CYNEWULF RUNES.

Rune Writan

Or a in depth look at THE CYNEWULF RUNES.  Start at PDF Page 200 or Search (Control F) on "runes"

While one may not agree at all with the (Church Approved) efforts to find Christ name everywhere. It still contains a lot of interesting though on the old Runes.

CYNEWULF'S CHRIST 

An Eighth Century English Epic

 EDITED, WITH A MODERN RENDERING

 BY ISRAEL GOLLANCZ, M.A.

of Christ's College, Cambridge.

Google (Free) download link:

https://books.google.com/books?id=U3U4AAAAIAAJ&pg=PA173&dq=CYNEWULF%27S+CHRIST&hl=en&sa=X&ved=0ahUKEwjTwobt2bfOAhXHbiYKHaC8A9MQ6AEIIzAB#v=onepage&q=CYNEWULF'S%20CHRIST&f=false

R: The Runes of Beowulf and other English Poems

The first thing one may notice is the term "Rune" is not translated in the old English the same by different translation authors.

Here I have tried to find as many Rune related concepts as possible. Not all meaning Runic Glyphs and Staves.
 TDK 

The Rune Types:

Hell-Runes
ríce tó rúne·
beadurúne     battle-runes 
rúnstafas        rune-staves  - Sword Hilt Runes
Death-rune.

And in "Havamal" we see Rune Spells: My runes are strong.

Rune Writing - RUNES WERE WRIT
Reading or deciphering of runes "rathen"

This one is nice!
http://www.heorot.dk/beowulf-rede-text.html

Þæt wæs wraéc micel      wine Scyldinga,	170	That was great misery      for the Friend of the Scyldings,
módes brecða.      Monig oft gesæt		a breaking of his spirit.      Many often sat
ríce tó rúne·      raéd eahtedon·		the mighty at counsel;      pondered a plan,
hwæt swíðferhðum      sélest waére		what by strong-minded men      would be best,
wið faérgryrum      tó gefremmanne·		against the sudden horror,      to do;

VIII
Hunferð maþelode      Ecgláfes bearn		Unferth spoke,      the son of Edgelaf, **499-606**
þe æt fótum sæt      fréan Scyldinga·		who sat at the feet      of the lord of the Scyldings;
onband beadurúne      --wæs him Béowulfes síð	501	he unbound battle-runes      --for him was the venture of Beowulf,
módges merefaran      micel æfþunca		brave seafarer's,      a source of great displeasure,
forþon þe hé ne úþe      þæt aénig óðer man		because he did not grant      that any other man
aéfre maérða þon má      middangeardes		ever glorious deeds the more      on middle-earth
gehédde under heofenum      þonne hé sylfa--:		heeded under the heavens      than he himself--:

þurh wæteres wylm    waldend sealde--	1693	through the surging of waters    the Ruler granted--
swá wæs on ðaém scennum    scíran goldes		also was on the sword-hilt    of shining gold
þurh rúnstafas    rihte gemearcod		in rune-staves    rightly marked,
geseted ond gesaéd    hwám þæt sweord geworht		it was set down and said,    for whom the sword wrought,
írena cyst    aérest waére

------------------

OLD ENGLISH POETRY TRANSLATIONS INTO ALLITERATIVE VERSE

WITH INTRODUCTIONS AND NOTES By J. DUNCAN SPAETH

PROFESSOR OF ENGLISH IN PRINCETON UNIVERSITY

BEOWULF THE MYTH OF THE SHEAF-CHILD :

Sword Runes:

15 On the polished gold of the guard of the hilt, Runes were writ that rightly told, To him that read them, for whom that weapon, Finest of sword-blades, first was made, The splendid hilt with serpents entwined.

Hell Runes:
20 The fell destroyer kept feeding his rage On young and old. So all night long He prowled o'er the fen and surprised his victims, Death-shadow dark. (The dusky realms Where the hell- runes haunt are hidden from men.)
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SAINTS' LEGENDS ELENE:

Death Rune:

5 Their banners they raised, and banded together. They massed their ranks and marched to war. The wolf of the weald his war-song chanted, Howled his death-rune. Hoarsely screamed The wet-winged eagle o'er the wake of the foe.

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Notes:
P203-204
hey all slept in the bowers. 6.—15. REFUSING TO END THE FEUD. In the Battle of Maldon the heathen pirates "Danes," offer to desist from their raids if the English will pay ransom, but Byrhtnoth refuses to buy indemnity by enforced tribute. Here the Danes are represented as willing to pay Grendel to let them alone. But Grendel would neither make and keep a treaty nor pay indemnity (wergild) for the damage he had done.— 24. HELL-RUNES. Runes were the letters used by the Ger manic peoples before writing became general. They were probably modifications of the Latin letters for the sake of more easily carving them on wood, curved lines being straightened, and lines running with the grain being made diagonal so as to prevent the splitting of the wood, e.g. F = V'. "Write" means to carve or cut; Beowulf in his last fight "writes" the dragon in two, a sword-writing mightier than the pen's. The runes were used for inscriptions on swords, drinking-horns, etc. and inspired the sense of magic and mystery that letters always have for the unlettered, so that "rune" came to mean "mystery." This sense was emphasized by the use of rune-staves (Germ. buch-stabe) in reading omens. Hence the transition to magic witch craft was easy. Hel-rune for "witch" occurs in O. E. glosses, and Jordanes tells that Filimer king of the Goths, found witches among his people, quas Haliu-runnas cognominat. See the examples of runes given in the note on Cynewulf, p. 233.—31. THAT HE MIGHT NOT VISIT HIS GOODLY THRONE. A difficult passage. The "he" is generally understood to refer to Grendel who was prevented from touching the seat of Hrothgar—no he bone gift-stol gretan moste

P215

49. 24. THE LIFELESS BODY SPRANG FROM THE BLOWS, etc. Not an act of wanton revenge, but probably in order to prevent Grendel's double or ghost from haunting the hall. 53.—16. RUNES WERE WRIT. Literally: Through rune- staves it was rightly marked, set and said, for whom the sword, etc. "Read" is the regular word that denotes de ciphering of runes. (Cf. German "rathen," and see note on Hell-rune.) —31. NOT HEREMOD THUS, etc. Like Ermanric among the Goths, Heremod became for the Danes the stock example of a bad and cruel king. He is here introduced as the anti-type of the good king, just as for readers of the poem Beowulf himself was the type of the noble king and hero. See Chadwick Origins, 148 ff.

P232-236

The Authorship of the Elene. At the close of the poem the name "Cynewulf" is woven into the verse in runic char acters. The same name, similarly signed, is found in three other poems, Crist, Juliana, and the Fates of the Apostles. (See note on Cynewulf's Crist, p. 239). Immediately pre ceding the runic insertion there is a passage in which the poet gives some account of himself. As this autobiographic epilog, though not a part of the narrative proper, is at tached to Elene, and as it is our chief source of informa tion concerning Cynewulf himself, we give it here in trans lation, reproducing the combination of rime and alliteration in which it is written. (The so-called Rime-poem uses the same device, which is frequent in Scandinavian alliterative verse.) Thus weary of the strife of this woful life, (1236) I spun my song, and studied it long. Deeply I pondered, darkly I wondered, When the night-watches fell ; nor knew I well The rood's strange story, till a radiant glory Unlocked by the might of its marvellous light NOTES 233 The gates of my mind. Guilty I pined, By woe enchained, by wickedness stained, Sorrow-driven, my sins unshriven, Till I learned the way of weaving a lay, In age to uphold my heart consoled. God through his power gave me the dower Of story and song. His spirit was strong My words to unwind, to awaken my mind, Loosen the lays that I lift in his praise With love and delight, while I live among men.1 Not once, but often within me I pondered The cross of glory, ere I came to unfold The marvel rare of the radiant tree As I found it in books in the fulness of time Writ to reveal the victory-token.2 After this come the lines in which Cynewulf has in scribed his name. In reading the runes in this passage it must be remembered that instead of being called by their sounds as in the English (Latin) alphabet, the runes are named after familiar words that begin with their respective sounds, just as in our rimed children's alphabets. Thus "th," indicated by the runic symbol b which became a regu lar letter in the Anglo-Saxon alphabet, was called "thorn." In the signed passage in Elene, the runes play a double role. As letters they spell out the name Cynewulf; as words they fill out the sense of the lines. In an Old English poem that gives the key to rune-words,—a rimed rune alphabet—the rune letters occurring in CYNEWULF are given the following names : hi-C cen, fire, torch ; E?-Y yr, bow ; -J.-N nyd, need; M-E eoh, horse; ^-W wyn, joy (cf. winsome); fVU ur-(ox) (German aur-ochs) ; r*-L lagu, water; f-F feoh, wealth (fee) ; C, Y, and U cannot well have the meaning in Cynewulf's lines that they have in the rune- poem, but he might easily after the manner of the rebus have used them for other words of the same sound (cf. eye, I; hour, our; you, yew). Thus cen, besides meaning "fire" or "torch" might stand for the adjective "cene," keen- hearted; "yr" for the first syllable of "yrmbu," poverty; xAt this point the rimed portion ends. 2 See note on The Vision of the Cross, p. 241. 234 OLD ENGLISH POETRY and "ur" for the pronoun "ur" our. Thus interpreted the passage would read as follows, inserting for the letters of Cynewulf's name the meaning they bear in the margin: C cene Beaten by care-billows, the C droops keen-hearted Though often treasures and appled gold Y yrmbu, poverty He had gained in the mead-hall, he mourns his Y. N nyd, need By 'N companioned he now endures E eoh, horse A narrow fortune, though aforetime his E Measured the mile-paths, merrily pranced W wyn, joy With jewelled bridle-rein. VV is fled, Gone with the years. Youth is departed, U ur, ours The old-time pride. U. was once The gleam of youth, but the years have gone ; The prime of life is passed forever, L lagu, water Rushed away, like running L. F feoh, (fee) Like a flowing stream. So fleeting is F wealth To all under heaven. So earth's bright hues Wane 'neath the welkin like a wind that riseth; Roaring aloud, o'er the land it rages, Sweeps the skies and scours the main, Then suddenly ceasing, silent falls Narrowly penned in its prison cell. The rune-passage is appended in the original for com parison : A waes saec ob baet cnyssed cearwelmum, hi drusende beah he medohealle mabmas bege, aeplede gold. R gnornode •f. gefera nearusorge dreah enge rune, ])aer him M fore milpapas mast, modig braegde, wirum gewlenced. ^ is geswibrad gomen aefter gearum. geogoj) is gecyrred a1d onmedla. fi waes geara geogolAades glaem. nu synt geardagas aefter fyrstmearce forb gewitene, lifwynne geliden, swa ^ toglideji flodas gefysde. f aegwham bib laene under lyfte. NOTES 235 For a fuller discussion of the rune-passage see Cook's Crist Albion ed. : 151 ff., C. W. Kennedy, Poems of Cyne wulf 7 ff. and C. F. Brown, The Autobiographical Element in the Cynewulfian Rune passages, Englische Studien XXXVIII, 196. Earlier scholars tried to construct a bi ography of Cynewulf out of the allusions in the rune- passage to the "appled gold" in the mead hall, and the "prancing steed," suggesting that he was a wandering min strel, and like the author of Deor's complaint suffered mis fortunes in later life. But Professor Brown has shown that the rune signatures themselves are not autobiographical, and all that remains is the testimony to a profound re ligious experience, a "conversion," the genuineness and depth of which is borne out by the character of the poems to which Cynewulf has signed his name. 95.—5. IN THE CIRCLE OF YEARS. The first two lines are from Professor Kennedy's prose rendering. The date of the battle was 312, and it was actually fought against the generals of Maxentius. Constantine had been proclaimed emperor by the army, at York in 306. The date of Helena's discovery is given as 326. But it was not until the end of the 4th century and in the West that the legend of St. Helena appeared. 97.—20. To CAESAR HIMSELF AS IN SLUMBER HE LAY. The source of Constantine's vision is in the Life of Con stantine by Eusebius Bk. 1, chaps. 28-31. The whole pas sage is translated in Cook's Crist, p. 190. According to Eusebius the vision of the cross in battle came first and the dream after. In Cynewulf's poem nothing is said of the vision on the battle-field. 98.—22. GAVE ORDERS TO MAKE. See the description of Eusebius: "At dawn of day he arose and . . . calling to gether the workers in gold and precious stones, he sat in the midst of them, and described to them the figure of the sign he had seen, bidding them represent it in gold and precious stones. And this representation I have myself had an opportunity of seeing. Now it was made in the following manner: A long spear, overlaid with gold, formed the figure of the cross, by means of a piece laid transversely over it. On the top of the whole was fixed a 236 OLD ENGLISH POETRY crown, formed by the intertexture of gold and precious stones ; and on this, two letters indicating the name of Christ symbolized the Saviour's title by means of its first characters—the letter P (the Greek R) being intersected by X (Gr. Ch) exactly in its centre; and these letters the emperor was in the habit of wearing on his helmet. From the transverse piece which crossed the spear was suspended a kind of streamer of purple cloth covered with a profuse embroidery of most brilliant precious stones." See note 68-13. 101.—n. THEY DROVE O'ER THE FLOOD. Compare the description of the storm in Andreas 1. 369 ff. The sea grew stormy, stirred was the deep, The home of the whale ; the horned fish played, Gambolled in the waves, and the gray sea-mew Circled greedy; the sky was darkened, The gale waxed stronger, the surges roared, The billows rose, the rigging moaned, They were drenched in brine by the breaking seas, And terror of ocean entered their hearts. Wedercandel swearc is exactly "the lift grew dark" and onhrered hwalmere is "and gurly grew the sea" of the bal lad of Sir Patrick Spens and with waedo gewaette compare : O laith, laith were our gude Scots lords To wet their cork-heeled shoon 107.—15. THERE SINCE THAT DAY. Our selection closes with line 1032. Section XIII of the Ms. describes the discovery of the nails used at the crucifixion, and then follows the personal passage discussed in the introductory note to Elene. 

P252

. 147.—21. EARNESTLY URGE THEE OVERSEAS. Old English: lustum lasran, baet bu lagu drefde. Professor Blackburn renders: "Earnestly to urge thee to sail the sea." The next four lines follow Professor Blackburn's version closely. The Old English has: "sibban bu gehyrde on hlibes oran galan geomorne geac on bearwe, ne laet by bec sibban sibes getwaefan, lade gelettan lifgendne monn." Literally: "When thou hast heard on the cliff's brow, the mournful cuckoo sing in the grove, do not thou then let liv ing man sunder thee from the journey, hinder thee from going." 148.—18. In the original there follow five more lines, containing runes which are supposed to be a cipher or pass word known to the recipient of the letter.

P256

34. WITCH FLY AWAY. In old German, witches are called woodwives, and were supposed to inhabit the wild forest. We must not lay too much stress on the echoes of the Valk- yria myth in our charm. Even before the introduction of Christianity, Germanic folklore had its wicked women and wood-wives, who had nothing to do with the shield-maidens of Norse mythology. The Norse had their "svart-alfar," black or wicked elves, as well as their "Ijos-alfar," light or good elves. "The heathen Teuton saw all round him a varied race of demons (especially wood-sprites such as O.H.G. haga-zussa, O.E. haegtes, i.e. German hexe, witch, and Goth. haljaruna, O.H.G. helleruna, O.E. hellerune) in their several haunts, against whose malignant power his only resource was zealous devotion to witchcraft."—KAUF- MANN, Northern Mythology, Temple Primers, p. 18. See note on hell-runes, Beowulf, 6-24. In the Havamal, one of the Eddic poems, there is an interesting allusion to just such a "spell" as is preserved in our charm. The poet says : "A spell I can work when witch-women ride Speeding swift through the air. My runes are strong. I can stop their flight Hurry them naked home Home with bewildered wits." Other charms he claims to know which have the power of releasing foot from fetter, hand from haft, and of checking an arrow in full flight. 

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https://books.google.com/books?id=S46F_Hj8r5MC&pg=PA14&lpg=PA14&dq=beowulf+poem+and+Hell+Runes&source=bl&ots=iYF1_JlGMG&sig=LQsrwDf0Lwk44ooLR059Glau3YQ&hl=en&sa=X&ved=0ahUKEwiXm4DwprXOAhVKL8AKHdkfAMoQ6AEINjAF#v=onepage&q=beowulf%20poem%20and%20Hell%20Runes&f=false

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The Project Gutenberg EBook of Beowulf  

A bit more Modern Translation:

http://www.gutenberg.org/files/16328/16328-h/16328-h.htm

R: Kennings

LEXICON OF KENNINGS AND SIMILAR POETIC CIRCUMLOCUTIONS
THE DOMAIN OF BATTLE
https://notendur.hi.is//~eybjorn/ugm/kennings/kennings.html

R: Sound Files of the Younger Futhark

http://www.rundtomruner.dk/runerneslyd-uk.html

R: Austin Osman Spare and His Theory of Sigils

Ref. http://www.chaosmatrix.org/library/chaos/spare/aosig.html

Austin Osman Spare and His Theory of Sigils

by Frater U:.D:.

The end of the nineteenth and the beginning of the twentieth century was a time characterized by radical changes and great heretics. The secret lore and the occult in general were triumphant, and there were good reasons for this: the triumph of materialist positivism with its Manchester industrialism was beginning to show its first malice, resulting in social and psychological uprooting; the destruction of nature had already begun to bear its first poisonous fruits. In brief, it was a time when it seemed appropriate to question the belief in technology and the omnipotence of the celebrated natural sciences. Particularly intellectuals, artists, and the so-called "Bohemians" became advocates of values critical of civilization in general as can be seen in the literature of Naturalism, in Expressionist Art and in the whole Decadent Movement, which was quite notorious at the time. Austin Osman Spare (1886-1956) was a typical child of this era and, after Aleister Crowley, he was definitely one of the most interesting occultists and practicing magicians of the English-speaking world. Nowadays he is basically known only in this cultural context; [1] internationally, he has received only some attention in literary circles at best-ironically, in a footnote! This footnote is found in Mario Praz's pioneering but, unfortunately, rather superficial work La carne, la morte e il diavolo nella letteratura romantica (The Romantic Agony, Florence, 1930) where he terms him, together with Aleister Crowley, a "satanic occultist" [2]-and that is all. Nevertheless, this important work has at least led many an occult researcher familiar with literature to Spare. Compared with Aleister Crowley's enigmatic and infamous life, Austin Osman Spare's existence certainly seemed to befit only a footnote. Despite his various publications after the turn of the century, he remained practically unnoticed until the late sixties. He was born in 1886, the son of a London police officer, and we know very little about his childhood. He claimed to have experienced while a child an initiation of sorts by an elderly witch, one Mrs. Paterson who, as far as we know, must have been quite a Wiccan-like character. Spare found his intellectual and creative vocation as an artist and illustrator, and he attended the Royal College of Art, where he soon was celebrated as a forthcoming young artist. But he rebelled against a bourgeois middle-class career in the arts. Disgusted by commercialism, he retreated from the artistic scene soon afterwords, though he still continued editing various magazines for quite a while. From 1927 until his death, he virtually lived as a weird hermit in a London slum, where he sometimes held exhibitions in a local pub. People have compared his life with that of H. P. Lovecraft, and certainly he too was an explorer of the dark levels of the soul. Around the beginning of the First World War, he released some privately published editions, and today one can acquire-at least in Great Britain-numerous, usually highly expensive, reprints of his works. However, we are primarily interested in two volumes, namely his well-known Book of Pleasure (Self-Love): The Psychology of Ecstasy (London, 1913) [3] and Kenneth Grant's excellently researched book [4] in which he, as leader of his own brand of O.T.O. (Ordo Templi Orientis) and as an expert on Crowley, deals with the practical aspects of Spare's system as well. Spare's actual philosophy will not be analyzed in depth here because this is not really necessary for the practice of sigil theory and it would lead away form the subject of this study. Before we begin with Spare's theory of sigils, it is perhaps useful to write a few words about the part sigils play in a magical working. Occidental magic is known to rest on two main pillars, namely on will and on imagination. Connected with these are analogous thinking and sybolic images. For example, Agrippa uses a special sigil for each of the planetary intelligences. These are not, as has been assumed for quite some time, arbitrarily constructed, nor were they received by "revelation," but rather they are based on cabbalistic consideration. [5] The Hermetic Order of the Golden Dawn also employed sigils as "images of the souls" of magical entities, which enabled the magician to establish contact with them; nevertheless, the technique of their construction was not explained. The same may be said for the O.T.O. under Crowley's leadership and for the Fraternitas Saturni under Gregorius. The name Agrippa already hints at the fact that magical sigils have a long historical tradition, which we will not discuss here because then we would have to cover the whole complex of occult iconology as well. In general, people think of "correct" and "incorrect" sigils. The grimoires of the late Middle Ages were often little else but "magical recipe books" (the frequently criticized Sixth and Seventh Books of Moses basically applies the same procedure of "select ingredients, pour in and stir"), and these practitioners believed in the following principle: to know the "true" name and the "true" sigil of a demon means to have power over it. Pragmatic Magic, which developed in the Anglo- Saxon realms, completely tidied up this concept. [6] Often Crowley's revolt in the Golden Dawn-at first in favor of but soon against Mathers-is seen as the actual beginning of modern magic. It would certainly not be wrong to say that Crowley himself was an important supporter of Pragmatic thought in modern magic. But in the end, the Master Therion preferred to remain within the hierarchical Dogmatic system due to his Aiwass-revelation in Liber Al vel Legis. His key phrase "Do what thou wilt shall be the whole of the Law. Love is the law, love under will," as well as his whole Thelemic concept, prove him a Dogmatic magician. Not so Austin Osman Spare. He seems to derive from the individual-anarchistic direction so that we may describe his philosophy, without undue exaggeration, as a mixture of Lao-Tse, Wicca and Max Stirner. English magic of the turn of the century was also influenced by an important young science which would actually achieve its major triumphs only after the Second World War-the psychology of Sigmund Freud. Before that, Blavatsky's Isis Unveiled and The Secret Doctrine, as well as Frazer's The Golden Bough, had given important impulses to the occult in general. William James's comparitive psychology of religion influenced deeply the intellectuality of this time, but Freud, Adler, and especially Carl G. Jung eventually effected major breakthroughs. From then on, people started to consider the unconscious in earnest. This apparent digression, which had to be kept very short due to lack of space, is in reality a very important basis for the discussion that follows. We will not analyze in depth by whom Spare was influenced. Lao-Tse and Stirner having already been mentioned, we might note numerous others from Swinburne to Crowley himself, in whose order, the A:.A:., Spare had been a member at least for a short while. Rather, we will discuss his greatest achievement-his psychological approach towards magic. This leads us to magical practice proper. In Spare's system there are no "correct" or "incorrect" sigils; neither is there a list of ready-made symbols. It is of no import whether a sigil is the "correct" one or not, but it is crucial that it has been created by the magician and is therefore meaningful to him/her. Because s/he has constructed it for personal use, the sigil easily becomes a catalyst of his/her magical desire, and sometimes it will even waken this desire in the first place. This Pragmatic approach which dominates present-day Anglo-Saxon magic (Israel Regardie, Francis King, Stephen Skinner, W. B. Gray, David Conway, Lemuel Johnstone, to name but a few relevant authors) goes to show that Austin Osman Spare, rather than Aleister Crowley, should be considered the real Father of modern Pragmatic Magic. [7] In the German-speaking countries, the situation is quite different. Writers like Quintscher, Gregorius, Bardon, Klingsor and even Spiesberger allow but little room to maneuver when creating magical coordinates individually. Here the adept is expected to grow into a ready-made system instead of fashioning one. This is a completely different approach, the value or non-value of which we will not discuss here. The nearest thing to Pragmatic Magic, existing already in 1917 i.e. 1921 (the date of the second revised edition of his major work on magic as an experimental science), was Staudenmaier. The works by Mahamudra, which have of late been receiving some attention, are mainly of a descriptive nature and deal with traditions and new interpretations, thus remaining within the context of German magical heritage; however, they do take heed of recent results in scientific psychology and are, therefore, at least partially related to the Pragmatic approach. Pragmatic Magic will become more and more important because today's magicians have to face a psychologized-and psychologizing-environment whose philosophical relativism has been shaping all of us, and still does. Regardless of the significance or amount of truth one concedes to psychology/psychoanalysis, we all are infiltrated by its way of thinking and its vocabulary. So even we magicians will have to attain to a critical, sensible look at it. It will be left to another era to find different models of explanation, description and practice. How does Spare proceed in practice? Sigils are developed by fusion and stylization of letters (see Figure 1). First of all, a sentence of desire has to be formulated. Let us take the example Spare himself gives in his Book of Pleasure, the declaration of intent:
THIS MY WISH TO OBTAIN THE STRENGTH OF A TIGER

>>>>> This sentence must be written down in capitals. Next, all the letters which appear more than once are deleted so that only one of each letter remains. [Ed. Note: The asterisks denote crossed out letters. Also beginning the declaration of intent with THIS MY WILL instead of THIS MY WISH may prove more efficacious.]

THIS MY W*** *O *B*A*N **E **R**G** *F * *****

Thus, the following letters remain: T,H,I,S,M,Y,W,O,B,A,N,E,R,G,F. The sigil is created from these letters; it is permissible to consider one part (for example, M) as a reversed W or, seen from the side, as an E. Hence, these three letters do not have to appear in the sigil three separate times. Of course, there are numerous possibilities of representation and stylization.

[Ed. Note: There was once a crude attempt at an ASCII sigil here, but it got screwed up beyond all recognition. I am trying to find the original sigil and will do another ASCII version when I find it. --Fenwick]
"This my wish to obtain the strength of a tiger."

Sigilized this would be:

This my wish --->
To obtain --->
The strength
of a tiger --->
Combined as
one sigil --->
However, it is important that in the end the sigil is as simple as possible with the various letters recognizable (even with slight difficulty). The artistic quality of the sigil is irrelevant, but for simple psychological reasons it should be obvious that you should not just scribble or doodle in haste. You should strive to make it to the best of your abilities. The finished sigil, which in the beginning will probably take a few attempts to construe, with then be fixated. You may draw it on parchment, on paper, in the sand, or even on a wall. According to Spare's short instructions, it should be destroyed after its internalization. Thus, you will either burn the parchment, wipe it out in the sand, etc. Spare's basic idea is that the sigil, together with its meaning, must be planted into the unconscious. Afterwards, the consciousness has to forget it so that the unconscious can obey its encoded direction without hindrance. When the sigil is ready, it is activated by implanting it into the psyche. This is the most difficult part in this process, and Spare offers only very few hints on practical procedures. However, it is crucial that the sigil is internalized in a trance of sorts. This may take place in a state of euphoria (for example, by means of drugs), in ecstasy (for example, sex magically by masturbation, sexual intercourse or a ritual), or in a state of physical fatigue. For the latter example, eyes and arms may be tired by the magician folding his/her arms behind the head while standing in front of a mirror and staring fixedly at his/her image. The important thing is that it should click, meaning that the sigil must be internalized spasmodically, which, of course, requires some exercise and control. This procedure may be supported by repeating the sentence of desire rhythmically and monotonously like a mantra, becoming faster and faster; in doing so, one must stare fixedly at the sigil. (In our example of looking into the mirror [a magical mirror may be used, too], it is useful to draw the sigil onto the mirror with water-soluble paint.) After spasmodical internalization, the symbol must be destroyed and deleted from the conscious mind. As mentioned before, from now on it will be the unconscious which has to do the work. In my own practical work I have discovered that it may even be useful to keep the sigil on you, such as wearing a ring engraved with it, etc. But this will depend upon the magician's individual predilection, and everybody should find his/her own way. Occasionally, it may prove necessary to repeat the whole procedure, especially if the goal is a very problematical one, requiring an outstanding amount of energy. Nevertheless, experience shows that it is of prime importance not to bring back the meaning and aim of the sigil into consciousness at any time. We are, after all, dealing with a technique akin to autosuggestion; thus, the rules are the same as with autosuggestions themselves. Therefore, you may not use negative formulas such as "THIS MY WISH NOT TO ..." because very often the unconscious tends neither to recognize nor understand this "not," and you might end up getting the opposite result than that which you originally desired. If you see a sigil every day, perhaps on a wall or engraved on the outer side of a ring, this should only take place unconsciously, just as one might not consciously notice an object which is in use all the time. Of course, you should keep your operation secret, for discussing it with skeptics or even good friends may dissolve the sigil's power. The advantages of this method, of which only a short summary can be given here, are obvious. It is temptingly easy, and with only a little practice it may be performed at any time and at any place. It does not call for any costly paraphernalia; protective Circles and Pentagram rituals are not required (though sometimes they may prove useful, especially with operations of magical protection), etc. People who tend to psychic instability should, however, be cautious. Although the threshold to schizophrenia is not as easily crossed with this method as with common evocations, it does involve cutting deeply into the ecology of the psyche, an act which should be considered carefully in any case. The psycho-magical consequences are sometimes quite incalculable. As is well known, the real problem with magic is not so much the question whether it works, but rather the fact that it does. Used with responsibility, this method offers the magician a tool which provides him/her with a limitless variety of possible magical applications.

Ubique Daemon :. Ubique Deus :.


Bio:


Austin Osman Spare (December 30, 1886 - May 15, 1956) was an English artist and magician.

He was the son of a London policeman. As a child, he showed an affinity for art, and he briefly attended an art school. At the age of 13, he left school to become an apprentice to a stained glass maker. During his teen years, his fascination for the occult grew apace, heavily influencing the work he produced. In May 1904 one of his drawings was exhibited at the annual Royal Academy exhibition in London, generating a storm of publicity for the young artist.

In October 1907 Spare exhibited his drawings at the Bruton gallery in London. His work resembled that of Aubrey Beardsley, but was full of grotesque, sexualized human figures and magical symbols. These elements appealed to avant-garde London intellectuals, and brought him to the attention of Aleister Crowley. Spare became a Probationer of Crowley's order Argenteum Astrum ("Of the Silver Star") in July 1909, but was not initaiated as a member, although he contributed four small drawings to Crowley's publication The Equinox. Crowley later characterized Spare as a "Black Brother", meaning that he did not approve of the goals of Spare's magical philosophy.

In 1917, during World War I, Spare was conscripted into the British army, serving as a medical orderly of the Royal Army Medical Corp in London hospitals. He did not see active service, and was commissioned as an official War Artist in 1919. He visited the battlefields of France to record the work of the R.A.M.C.

Spare's artistic and magical publications include Earth Inferno, The Book of Pleasure, The Focus of Life, manuscripts of Logomachy of Zos and Zoetic Grimoire of Zos which remained uncompleted at his death on May 15, 1956.

His iconoclasm and aversion to moralism as well as his sigilization was influential on the Western esoteric tradition that later came to be known as chaos magic.

Ref. http://www.austinspare.co.uk/

More References:

https://en.wikipedia.org/wiki/Austin_Osman_Spare

R: English Phonemes Help for Writing Runic English

The Cat's Claw

/tje/ ˈkæts klɔ

Tje Cats Claw

| ðə ˈkæts ˈklɒ |

Writing English in Elder Futhark Runes or other graphemes, that others (Rune readers in phonetics of english) can really read and understand.


Which way do I write and read my Runes:
LTR (left to right writing) RTL (right to left writing)
What is the correct direction one writes Runic Glyphs ?

To me it seems like it should the phonemic orthography of the langue's native alphabet.

I.E. using English written phonetically in runes, write and read LTF Left to Right.

English is a non phonetic language.
Most words are not said they way there spelled, so we must convert from proper spelling, to phonetic (English 44 Phonemes) spelling. Then map the English phonemes to best choose (Elder Futhark) runic phonemes. And then you have English spelled in readable Runic.

How to Write It:

1) Write down what you want to say in English on one line double spaced.
Skip a line

2) Using Phonetic Dictionary now write Phonetic Spelling of each word under
skip 3 lines

3) Now map the English phonemes to Runic glyph phonemes.

4) note you may need to try alternative phonetic English spelling to get best match to Runic phoneme.
Example Cat, try Kat instead. the extra skipped lines gives you room to try alternative spelling.

5) See free resources listed below to help.

Resources on line for downloading:

The 44 Phonemes
http://www.boardman.k12.oh.us/userfiles/363/Phonological%20Awareness/44Phonemes.pdf


The 44 Sounds (Phonemes) of English
http://www.dyslexia-reading-well.com/support-files/the-44-phonemes-of-english.pdf

Modern English Runic  (While not Elder Futhark it covers a lot of issues converting English to a Runic Orthography) tdk
Modern English Runic alphabet
A phonetic alphabet created by John D. Higgins
http://www.omniglot.com/conscripts/mer.htm

BOOKS::

This one is Phonetic to Spelling and you will need to use search (Control F) a lot.

A phonetic dictionary of the English language
by Michaelis, H. (Hermann), b. 1867; Jones, Daniel
Published 1913
https://archive.org/details/cu31924027444284
----------------------------------------------------------------------
***
This one is Spelling to Phonetic and perfect for us:

The American Phonetic Dictionary of the English Language
By Daniel S. Smalley, Alexander John Ellis
https://books.google.com/books?id=lKQRAAAAIAAJ&pg=PR19&dq=English+to+phonetic+spelling&hl=en&sa=X&ved=0ahUKEwjqtZmnh6rOAhUGbB4KHWDAANwQ6AEIMTAE#v=onepage&q=English%20to%20phonetic%20spelling&f=false

Cool On-Line Tools::

Plug your text into one of these on-line Test to Phonemes converts.

ENGLISH Spelling to Phonetic Spelling Transcript Translators::

EasyPronunciation.com 
http://easypronunciation.com/en/english-phonetic-transcription-converter#phonetic_transcription

OR

Phono-Trans-Edit:
http://www.photransedit.com/Online/Text2Phonetics.aspx

Than take its output phonetic text and plug that into a (free off-line) Test to Speech program like eSpeak for Windows. Listen and maybe tweak it a bit.
Remember to only use Runic Phonemes or letter sound values. After you can understand what Easy-Speak says, just now write that out in Runes. And anyone that can read the runes with it English phoneme (letter sounds) values  can understand it for sure. TDK

eSpeak text to speech:
http://espeak.sourceforge.net/
-------------------------------------


--------------------------------------------------------------------------------------------

Lexicon::

G::

Glyph > a hieroglyphic character or symbol; a pictograph. (Our Runes)

P::

Phoneme > any of the perceptually distinct units of sound in a specified language that distinguish one word from another, for example p, b,d, and t in the English words pad, pat, bad, and bat.

Phonetic > of or relating to speech sounds, "detailed phonetic information" (of a system of writing) having a direct correspondence between symbols and sounds.
"a phonetic alphabet"

O::
 
Orthography  > the conventional spelling system of a language.



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-------------------------------------------------------------------------

Electronic Readable Tools Advanced User Only:
CMU Phoneme English Dictionary
http://www.speech.cs.cmu.edu/cgi-bin/cmudict?in=C+M+U+Dictionary

LOGIOS Lexicon Tool
http://www.speech.cs.cmu.edu/tools/lextool.html

B: THE EPIPHANY IN RUNIC ART

19 pages but what beautiful stone work.


http://vsnrweb-publications.org.uk/The%20epiphany%20in%20runic%20art.pdf

R: Germonic Divination use of Glyph lots

Perhaps a true Root work of using Staves for Divination by the Germanic Tribes.

Wooded glyph (Runes ?) marked Wooden Pieces:

10. They cut a twig (68) from a fruit-tree, and divide it into small pieces, which, distinguished by certain marks,

Our Rune Cloth:

are thrown promiscuously upon a white garment.

Could this be our Rune Pouch also ?

Then, the priest of the canton, if the occasion be public; if private, the master of the family; after an invocation of the gods, with his eyes lifted up to heaven, thrice takes out each piece, and, as they come up, interprets their signification according to the marks fixed upon them. If the result prove unfavorable, there is no more consultation on the same affair that day; if propitious, a confirmation by omens is still required. Note 68:

[ The Scythians are mentioned by Herodotus, and the Alans by Ammianus Marcellinus, as making use of these divining rods. The German method of divination with them is illustrated by what is said by Saxo-Grammaticus (Hist. Dan. xiv, 288) of the inhabitants of the Isle of Rugen in the Baltic Sea: "Throwing, by way of lots, three pieces of wood, white in one part, and black in another, into their laps, they foretold good fortune by the coming up of the white; bad by that of the black."]

Reference Work:


Ref. http://www.gutenberg.org/files/7524/7524-h/7524-h.htm...

10. No people are more addicted to divination by omens and lots. The latter is performed in the following simple manner. They cut a twig 68 from a fruit-tree, and divide it into small pieces, which, distinguished by certain marks, are thrown promiscuously upon a white garment. Then, the priest of the canton, if the occasion be public; if private, the master of the family; after an invocation of the gods, with his eyes lifted up to heaven, thrice takes out each piece, and, as they come up, interprets their signification according to the marks fixed upon them. If the result prove unfavorable, there is no more consultation on the same affair that day; if propitious, a confirmation by omens is still required. In common with other nations, the Germans are acquainted with the practice of auguring from the notes and flight of birds; but it is peculiar to them to derive admonitions and presages from horses also. 69 Certain of these animals, milk-white, and untouched by earthly labor, are pastured at the public expense in the sacred woods and groves. These, yoked to a consecrated chariot, are accompanied by the priest, and king, or chief person of the community, who attentively observe their manner of neighing and snorting; and no kind of augury is more credited, not only among the populace, but among the nobles and priests. For the latter consider themselves as the ministers of the gods, and the horses, as privy to the divine will. Another kind of divination, by which they explore the event of momentous wars, is to oblige a prisoner, taken by any means whatsoever from the nation with whom they are at variance, to fight with a picked man of their own, each with his own country's arms; and, according as the victory falls, they presage success to the one or to the other party. 70

68 - The Germany and the Agricola of Tacitus., by Tacitus

11. On affairs of smaller moment, the chiefs consult; on those of greater importance, the whole community; yet with this circumstance, that what is referred to the decision of the people, is first maturely discussed by the chiefs. 71 They assemble, unless upon some sudden emergency, on stated days,…

GUTENBERG.ORG

Author: Publius (or Gaius) Cornelius Tacitus (/ˈtæsᵻtəs/; Classical Latin: [ˈtakɪtʊs]; c. AD 56 – after 117) was a senator and a historian of the Roman Empire. The surviving portions of his two major works—the Annals and the Histories—examine the reigns of the Roman emperors Tiberius, Claudius, Nero, and those who reigned in the Year of the Four Emperors (AD 69). These two works span the history of the Roman Empire from the death of Augustus in AD 14 to the years of the First Jewish–Roman War in AD 70. There are substantial lacunae in the surviving texts, including a gap in the Annals that is four books long.

Tacitus' other writings discuss oratory (in dialogue format, see Dialogus de oratoribus), Germania (in De origine et situ Germanorum) The Book: The Germania, written by the Roman historian Publius Cornelius Tacitus around 98 ad and originally entitled On the Origin and Situation of the Germanic Peoples (Latin: De Origine et situ Germanorum), was a historical and ethnographic work on the Germanic tribes outside the Roman Empire. 

B: Runic Amulets and Magic Objects

By:
Mindy MacLeod and Bernard Mees 2006

278 pages

Excellent work! tdk


http://meanings.ru/library/macleod-runic.pdf

R: Learning to know a Rune Carver and his cutting technique

file:///C:/Users/George/Documents/A%20Runic%20Codex/Runic%20Carving%20and%20ratios/LA10.11.Kitzler.pdf

There Be Dragons in the Garden

Sound Test

Text Sound HTML NextLine
Close of Html

Text Sound HTML NextLine
Close of Html

R: Our Face Book Study #Chairs List

Our Study Chairs.

https://www.facebook.com/groups/OgamRunicphonograms/

I want to Stress again, we (the Study Family) are trying to get conversations going on many long term specific issues or objects.

I.E. giving them a ‪#‎Chair‬, in imitation of what a College mite do for a funded subject.

But this like in a College useless if no one attends, studies, lectors, questions, answers and or publishes at the Chair.

TDK your Host.

FYI the groups Blog is getting a few hits from around the world, very nice.

Note to Scholars, Elders and Experts, we can add you as Authors to the Blog if you friend me on Google + (ipv6king@gmail.com).

FYI to everyone to comment / share on one of our (Subject or Object specific threads) Chairs. just use the (Search the Group) in upper right of page and enter ‪#‎Chair‬. You will see are the Chair threads come up for accessing.

Looking forward to a very interactive Family Here!!
TDK your Host.

A::

‪#‎Aettir‬, the Elder Futhark's families and their god's ‪#‎Chair‬ #7/16
The Elder Futhark is divided in three Aett (groups). Each group is called a Aett 'family' and each family belongs to a god in the old Norse mythology.

‪#‎Ægirshjálmur‬ ‪#‎Helm‬ of Awe ‪#‎Chair‬

‪#‎Age‬ of Runes ‪#‎Chair‬

#‎Alfather‬ ‪#‎Odin‬ ‪#‎Woten‬ ‪#‎Chair‬

‪#‎Anglo‬-Saxon ‪#‎futhorc‬ runes ‪#‎Chair‬. #7/16

‪#‎Audio‬ Files ‪#‎Chair‬, Songs, Poems etc #7/16

‪#‎Runes‬ Audio Names Files ‪#‎Chair‬ #7/16

‪#‎Audio‬-Files ‪#‎Younger‬ ‪#‎Futhork‬ ‪#‎Futhark‬ ‪#‎Chair‬

B::

Battel Runes
#Battle #Runes #Chair

BindRunes:
#‎Bind‬ ‪#‎Runes‬ ‪#‎Progect‬ ‪#‎Chair‬


C::

‪#‎Historical‬ - ‪#‎Chronological‬ ‪#‎Transformation‬ of the ‪#‎Runes‬ ‪#‎Chair‬

‪#‎Vegvísir‬, or Compass Rune ‪#‎Chair‬ #7/16

Courses:

‪#‎Ogam‬-101 ‪#‎Ogham‬-101 Whispering Woods Ogham Course pdf.‪#‎Chair‬
‪#‎Kewelristar‬ ‪#‎Runes‬ ‪#‎Course‬ ‪#‎Chair‬

D::

Death Runes
#‎Death‬ ‪#‎Runes‬ ‪#‎Chair‬

E::

F::

‪#‎Fionn‬'s Window ‪#‎Chair‬ #7/16

‪#‎Fonts‬, ‪#‎Celtic‬, ‪#‎Icelandic‬, ‪#‎Germanic‬, and ‪#‎Nordic‬ ‪#‎Chair‬

For Ogam / Ogham and Runic ‪#‎Graphemes‬, Galdrastafurs, ‪#‎Sigils‬ and Symbols

G::

H::

#: Hasstag(Subject) & #Chair

Hell Runes
#‎Hell‬ ‪#‎Runes‬ ‪#‎Chair‬

‪#‎Ægirshjálmur‬ ‪#‎Helm‬ of Awe ‪#‎Chair‬


‪#‎Historical‬ - ‪#‎Chronological‬ ‪#‎Transformation‬ of the ‪#‎Runes‬ ‪#‎Chair‬

I::

J::

K::

‪#‎Kewelristar‬ ‪#‎Runes‬ ‪#‎Course‬ ‪#‎Chair‬

L::

M;;

N::

O::

# ‪#‎Oden‬'s ‪#‎Chair‬ - Mythical Source of the Runes. Hávamál

#‎Alfather‬ ‪#‎Odin‬ ‪#‎Woten‬ ‪#‎Chair‬

Ogam:

‪#‎Ogam‬-101 ‪#‎Ogham‬-101 Whispering Woods Ogham Course pdf.‪#‎Chair‬

P::

Poems:
#‎Rume‬ ‪#‎Poem‬ ‪#‎Poems‬ ‪#‎Chair‬

R::
Runes:
‪#‎Age‬ of Runes ‪#‎Chair‬ 

‪#‎Anglo‬-Saxon ‪#‎futhorc‬ runes ‪#‎Chair‬. #7/16

‪#‎Runes‬ Audio Names Files ‪#‎Chair‬ #7/16

# ‪#‎Oden‬'s ‪#‎Chair‬ - Mythical Source of the Runes. Hávamál

‪#‎Historical‬ - ‪#‎Chronological‬ ‪#‎Transformation‬ of the ‪#‎Runes‬ ‪#‎Chair‬


S::

Sword Runing
‪#‎Sword‬ ‪#‎Runes‬ ‪#‎Chair‬

T::

Runic Tally or Numerials
#‎Runic‬ ‪#‎Tally‬ ‪#‎Numbers‬ ‪#‎Counting‬ #Numbers ‪#‎Gematria‬ ‪#‎Chair‬

Cornelius ‪#‎Tacitus‬ ‪#‎Chair‬

‪#‎Tattoos‬ Ogam / Ogham ‪#‎Chair‬ #7/16

‪#‎Tattoos‬ Runic ‪#‎Chair‬

V::

The ‪#‎Valknut‬' ‪#‎Chair‬ Thread. #7/16

‪#‎Vegvísir‬, or Compass Rune ‪#‎Chair‬ #7/16

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‪#‎Alfather‬ ‪#‎Odin‬ ‪#‎Woten‬ ‪#‎Chair‬

‪#‎LTR‬ ‪#‎RTL‬ ‪#‎Writing‬ Runes ‪#‎Chair‬