The
shapes of runes and the objects they represent
Many people tend to consider the emergence of
Hungarian runes the same process as modern Hungarian, Turkish and Slovak
alphabets were created, i.e. by adding some auxiliary strokes to the original
Latin characters. There are many unjustified opinions that try to classify
Hungarian runic letters according to their graphic forms (e.g. regarding as a
basic classifying factor whether they include vertical lines). They think they
can find the relationship between characters that are only partly similar with
the help of adding auxiliary strokes. For example András Róna-Tas wrote, "The character s seems to have originated
from the Greek character of lambda, and the character l seems to have been
drawn by adding two diacritical marks to the character s (Róna-Tas/1996/338).
With that chain of ideas and enough "diacritical signs" any alphabet
can be deduced from any other, to the greater honor of "academic"
science.
Such "academic" deductions do not reveal
anything about the origin of Székely runes, as the runes developed not from
auxiliary strokes, but from pictograms, just like the most ancient characters
of antique scripts. The character s, for example, represents the angle of a
corner (sarok) and the rune l (ló-horse) a horsehide stuffed with straw and
drawn over on a slanting stake standing in the ground. The "diacritical
marks" mentioned by András Róna-Tas are in fact the fore- and hind legs of
the horse (cf. Szekeres/1993/84). Of the two theories of origin only the latter
can be supported by a series of similar examples. Both characters in question
have originated in steppe mythology and belong to the letter-like elements in
the complete system of the Hungarian set of hieroglyphs.
Linear runes are extremely simplified drawings. This
is unambiguously supported by the exactly identical form of the Székely v (vas
= iron), Turkish lt/ld (temir/demir = iron), and German e (Eisen = iron) runes,
which all represent an Aegean-Anatolian semi-finished metal ingot and refer to
its material[1]
(Fig. 2).
However, when comparing pictograms of different
scripts, such extensive coincidences cannot be expected, as the same object can
be drawn differently (Fig. 3).
The shape of a character depends on the thing it
depicts, the drawer's point of view, writing technology, etc. Similarity
usually show relationship, but also graphically different characters may be of
the same origin (if Székelys had turned to the use of cuneiform writing, their
character for cauldron would have been different from the above German and
Turkish runes).
Fig. 8 Linear and pictorial representations of the
orderly world created by God: variants of the Székely "f" (Föld = the
Earth) rune and its Chinese equivalent (top), and drawings in two Hungarian
peasant plates, one from Magyarszombatfa of the Õrség region, with the God of
the Sun in the center (left), the other from Transylvania (right)
Most parallel features are due to genetic
relationship, even in the case of the most remote writing systems, as the basic
principle "everything is connected to everything" is valid for signs
as well. Székely runic script is related to nearly every writing system at the
same time, and the explanation for the astonishing similarities is not
generally known. Many authors have alleged accidental coincidence as a reason,
which is a convenient, though weak argument to disprove the rival theory of
writing development spreading from one center. With the help of mathematical
probability calculus, it has been shown that such large-scale coincidences were
impossible to occur; the reason for the similarities is mainly their
relationship, even in the case of the most remote writing systems
(Varga/1993/189).
The genetic connections manifested in identical
character shapes can be explained by the extremely widespread use of the most
ancient religious beliefs, since most ancient characters developed from symbols
that were connected to myths from the Paleolithic age.
These ancient myths appear clearly or in fact the most
clearly in the symbolism of Székely runes. The world of their images forms a system, which proves that Hungarian
runes arose at a very early age. Hungarian runic letters are related to Eastern
mandala[2];
they represent the created world and its elements, and they had developed from
the map of the world-center, that is Eden, and from the drawings of mountain,
water, plant, animal, the Orion constellation, which was identified as the
father, the Milky Way, and the pillar of the world holding Heaven (Figs. 4, 6,
8, 9, 23).
[1] Semi-finished ingots copied the form
of flayed animal hide, since hide had been a means of exchange, which was later
changed to semi-finished casting. Magyar runes representing ingots were
interpreted by Chinese as metal cauldron, because the word vas (iron) had the same origins as the words õs (ancient), réz
(copper), üst (cauldron), and ezüst (silver). Linguists deduced that
in the Ural linguistic age, the ancient form of the word vas was vaske (meaning
õskõ = ancient stone). This word has connections with the Sumerian guskin, Hurrian ushu (copper), and Armenian (v)oski
(cf. Veres/1997/119). Its Finno-Ugrian equivalents mean "metal, ore, wire, chain, coin, copper,
bronze, tin". From the meaning ancient
the meanings of the set of words are likely to have developed at the start of
metalwork in connection with the magic importance of the meteoric iron fallen
from the sky, a gift from the divine forefather. The relationship between the
Magyar vas and the Hurrian ushu sheds light on the age and meaning
of the Székely characters "v" (vas = iron) and "u" (üst =
cauldron) of Nikolsburg (Fig. 2, 5, 24, 35).
[2] Altar cycle made up from the symbols
of the elements of the world created and symbolizing God.
Contents
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9. | |
History of the scientific views on the origins of Székely runic script | 10. |
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