The origins of Hunnish Runic Writing (6) The mythology, names, and sound-values of runes

 

The mythology, names, and sound-values of runes

 

If the Hungarian runic characters had names, these names are not known - declares Gyula Németh (1934/13).

Since then, most character names have been successfully identified by the identification of the objects they represent[1] (Fig. 6). The phonetic forms of Székely runes developed from these names at one time. The names form a linguistic and semantic system, which is similar and closely connected to the image system, and they belong to the most ancient Hungarian words. Unlike Greek or Semitic letter names, these Hungarian names are easy to understand; though they are sometimes archaic. They possess such coherent mythological connections as make it possible to reconstruct the system of the ancient Hungarian religion. This circumstance not only verifies the reconstruction of names, but also gives information about the origin of Székely script, since the different types of religious systems are restricted in space and time.

During the process of acrophony[2], character names developed into the letters; 's’ from the character name 'sarok' (corner), 'h' from the character name 'hal' (fish), etc.

There is the divine triad[3] in the background of the runes 'a' (anya = mother, Anahita, Anat, Enéh), 'b' (Bél[4], belsõ = internal), and 'd' (Du[5]).

The Hungarian 'gy' rune, which forms a double cross[6], is identical with the attribute egy (one) in the name of God, and its character represents the Milky Way, the personified pillar of the world.

The phonetic form of the wave-shaped 'ü' originates in the Hungarian word ügy (folyó = river). Rivers meant god-symbols for our forefathers. About this, Maximus Tyrius wrote the following: "Rivers are respected either for the advantages they offer, as the Egyptians respect the Nile, or for their beauty, as the Thessalonians respect the Peneus, or for the river god, as in the case of Scythians." That is why the Hungarian word ügy (meaning river) is similar to the egy (one) attribute of God. It follows from the mass of such examples that the Hungarian language is the oral illustration of that marvelous mythology. At the birth of the Hungarian language, the most ancient myths, rites and signs had already been placed beside the cradle. Their survival proves that our forefathers had always kept the remains of their ancient religion, their ability to form a state, and their popular character.

The form of the 't' rune represents the single fork-shaped supporting pillar of the simplest Hungarian buildings[7]. Its phonetic form is rooted in the shortened form of the Hungarian word tengely (axis, axle), and it is not accidental that the root ten appears also in the Hungarian words isten (god), tenger (sea), tündér (fairy), and tanító (teacher). According to ancient myths, the first god-like teachers appeared from the sea like fairies, and were identified with the world's axis of rotation, the personified pillar of the world: the Milky Way.

The name and the phonetic form of the Sumerian fish-formed ha (fish) and the Székely 'h' (hal = fish) characters suggests related linguistic and writing traditions. The Turks borrowed their similar, fish-shaped hieroglyph from Hunnish script (Fig. 7). Due to linguistic differences the Hunnish-Székely character name became hal, while the Turkish one became balik, and they shortened to the Székely 'h' and the Turkish 'b' letters respectively.[8] Their connection is understandable only if steppe runes are regarded as the descendants of hieroglyphs.

The 'f' rune, a cross in a circle, represents the four holy rivers (Eden), and had developed from the name of the Föld (Earth) created by God (Figs. 4, 8).

 Fig. 9 Pictorial and linear varieties of the tree holding Heaven

(Hittite metal plaque with a tree formed as a double cross, holding Heaven and with the sun at the top; a hieroglyph from Urartu; Chinese lolo [sky, heaven]; Székely 'g' [ég = sky])

 

There are many more examples. These runes are the connected relics of a mythically beautiful Paleolithic view of the world. In that ancient world the pillar of the world holds Heaven, double cross represents the only God, and heroes, who founded empires later, are born from the rivers.

 

Fig. 10 The precedents of ligature are the pictogram-montages: The representation of the Milky Way by combining the symbols of water and stairs in a potter motif from Lehecsény; in the Hunnish strap-end from Csorna; in an Indian cup from Central America; on the edge of the stairs "leading to the sky " of a Totonac Indian pyramid; and in a New-Mexican Indian pot (with the name of the Father)[9]

(potter motif from Lehecsény; a part of the strap-end from Csorna; embroidery from Kalotaszeg with "big script"; Central American Indian cup; a part of a Totonac Indian pyramid; Indian pot from New-Mexico)

 

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[1] The systematic character of the symbols made it possible to reconstruct the names, as the symbol for 'b' (Bél, belsõ = internal) occurs inside (in the center) of world models, character ‘s’ (sarok = corner) at their corners, etc. (Varga/1997).

[2] Acrophony is a process in the history of writing, during which a word character develops into a letter denoting the first sound or the first consonant of the word.

[3] The memory of the divine triad has survived in the name of Anonymus Enedubelianus (Enéh+Du+Bél).

[4] The Magyar word fiú developed from the name Bél through the sound changes Bél-Pel-Pil-Pi-fiú. It is also connected to the names Béla, Balaton (Baál ten/Baál tó = Lake Baál), Pelso (Pel isten = Pel God) and Pilis (Pil isten = Pil God).

[5] God the Father of Magyar conquerors is identical with Ta/Da, the Hittite god of storm. Cf. Duna, Don, Thana, Õsten.

[6] The stalk of the double cross is the Milky Way, and the two crosswise strokes represent the ecliptic at the time of the two solstices.

[7] Herder’s shacks partly dug into the ground, with their roof leaning against the hillside, tents with a center-pole, or horse-driven dry mills. These buildings are world models at the same time.

[8] The symbology of the character is shown by the mythological, ethnographic and linguistic connections between hal (fish), háló (net), halál (death), hulla (corpse), and Khul Ater (father Fish, the Obi-Ugrian god of hell).

[9] The symbol of water and stairs are related to the runes 'j' (jó = good, folyó = river) and 'm' (magas = high, magasba vezetõ út = way leading upwards) respectively. A possible interpretation of these signs gives the name of Jima (Jóme(gye), Jóma(gas) of Avesta, the forefather of Mankind in the Irani mythology (cf. Mitológiai/II/127). He had the Vara erected in Khwarism (Tolstov/1986/96), which means vár (castle), város (city) in Hungarian. The source of the pictures: potter motif from Lehevsény in Florescu/1967/111; Hunnish strap-end in Huszka/1996/150; the part of the Totonac pyramid is the author's drawing, the Central-American cup in Dúcz/1993;the pot from Anasaz (Zuni, New-Mexico) Clark/1997/22.

Contents

Preface to the English edition	7.
Preface	9.
History of the scientific views on the origins of Székely runic script	10.
Principles of deriving the origins of Székely script	26.
The development of writing	28.
The shapes of runes and the objects they represent	29.
The mythology, names, and sound values of runes	32.
Rituals and runic script	35.
Types and number of characters	37.
Order of characters	39.
Direction of reading and characters	48.
Syllabic signs	52.
The regular use of syllable and vowel signs	55.
The birth of letter scripts	58.
Comparing of writing systems	61.
The academic historical-geographical preconception	68.
The Turkish connection	70.
What the historical sources say	71.
Székely script of the Huns	73.
The age of the development of Székely character forms	79.
The age of unification of Székely character sets	82.
Hungarian vocabulary connected to writing	87.
Ligatures that survived millennia	92.
Migrations of peoples	97.
Summary	101.
Bibliography	109.

Varga Géza

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