The Magick and Power of Futhark

Raido, RUruz, UNauthiz, NEhwaz, ESowelu, S



Talismans

Bind Runes-Numerical Symbolism-Color Symbolism-
Transliteration of Modern English into Runes-Making a Talisman



Preliminary Exercises-The Gods' Runes-The Oracle of The Self
Signing and Sending of Runes-Sign Magick-Spells and Rituals-Invocation
Magickal Tools and Attire-Correspondences
Meditations -Stadhagaldr-Elements-Runic Streams-Intake of World and Earth Streams-Divination
Definitions of Terms-Books About Runes



Talismans

The three principle words for "talisman," "amulet," or "talismanic magick,"
in Old Norse are, (1) tienn, which means a piece of wood or twig that
has been made into a talismanic object (the word "tine" reflects this);
(2) hlutr, which refers to any object that is used for talismanic or
divinatory purposed (English "lot"); and
(3) taufr, which means both magick and talisman in general;
but in the original sense talismanic magick is particular.
All three terms are quite descriptive of various aspects of talismanic Rune craft.


A tine is a living being that has an orlöög
to live out, one that has been bestowed upon it by the
magician. The Rune caster gives the "object" life and
then magickally provides it with orlöög through
the nature of the Runic power that the magician charges it with.
The "living nature" of the tine may be so strongly enforced that
it will be found to have a "personality." In order to facilitate
this high state of autonomous (but magician-willed) energy, the
Rune caster may want to give the tine a name during the charging
ritual. This is the mystery behind the many Runic talismans (especially
weapons) that have been given names.

The technical theories
behind tine magick are in perfect accord with the laws of action within
the Runic cosmology in general. The Rune tine acts as a key to unlock
the power of particular Rune streams. In the charging process these
streams (identical with hamingja) are willfully blended in
the causal worlds and infused into the object, which has been prepared
by the magician with symbols and staves representing and, therefore,
receptive to those forces. There they are strengthened or altered and
again released, carrying with them a specific character imparted by the
orlöög-giving galdr and formálar of the
magician and the innate power of the essence of the particular Rune(s)
through a great concentration and energizing of forces directed by the
magician into the tine, using the shape, sound, and color of the Runes.

Once the tine has been properly charged, this power is then "unloaded"
according to the form that the magician made upon it. The object is the
center of a vortex of energy, receiving that energy, formulating it in
accordance with its orlöög, and then reexpressing it in the
causal realms, leading to the desired result. This power may also be
retained within the personal sphere. The efficiency of this process depends
on the strength of the magician's hamingja and the quality of concentration
and visualization the magician brings to bear during the charging process.

Another important aspect of tine magick is that of magickal linkage
to the "object" of the taufr, that is, the person or thing to be
affected by the magickal force. This may be brought about by attaching a
Runic formula to the object that represents the person (such as the name
re-written with Runes) or by the physical proximity of the tine to the
person to be affected. Other techniques of sympathetic magick can also be used.

There are several distinct types of Runic talismans.
Usually, they are made from pieces of wood, bone, stone,
or metal that easily take their forms. However, paper or
parchment can also be used by those less traditionally inclined.
The objects on which the Runes and symbols are placed may be purely
magickal in function or they may also serve some useful function.
The former group is what is usually considered a tine. The
latter group can include such objects as belt buckles, pens,
vehicles, hand tools, etc., that are ritually endowed with
hamingja. This is valuable for imparting success or
protection in the areas where the object is used. This tradition
is just as useful and powerful today as it was in ancient Europe,
when warriors inscribed Runes onto their weapons and shields for
victory and protection. The imagination of the modern Runester
should prove to be a fruitful guide in this practice. Another
class of talisman is stationary. Any fixed object can be made
into a Runic talisman. Trees, large rocks, and houses are good
examples. Also, a stationary taufr can be a card or stave
placed in the magician's room, or a tine placed near the person to
be affected by the magickal power. These are used to magickally
influence a particular place or persons who are regularly in that
place. Talismans can also be applied internally.


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Bind Runes

Tines can be produced that express a single Runic force,
but one of the most potent techniques of blending several
Runic forces together for a specific purpose is that of the
bind Rune. (Old Norse bandrún).


A bind Rune is the combination of individual Runic powers into one mighty field of action.
This method has the distinct advantage of only using the ideographic essence of the rune;
therefore the contemporary Rune crafter doesn't have to worry about whether or not his or
her inscription is correct or whether it will be effective if written in Modern English.
In order to properly build and charge such a form, the magician must have a deep understanding
of the individual Runes and how they work together to form a single powerful expression of force
with a single harmonious will. The principles of spiritual and physical aesthetics are important
here. This combining aspect is common to all Rune craft, but with the bind Runes it finds its
most obvious expression.

From the very beginning Rune crafters have used bind Runes.
There are two main types of these bandrúnar: (1) those used to connect two or more Runes
together when inscribing words, and (2) those of a purely ideographic type (although this last
type can contain a word concealed in its form as a kind of simultaneous anagram). A great
amount of "artistic license" is allowed the magician in constructing bind Runes.
When formulating bind Runes, the Rune crafter should always keep the elements of
numerological symbolism and ideological harmony and cooperation in mind.

When used in writing, bind Runes may connect two Runes or a group of them.
This is done to create a magickal link between these two Runes, to represent
two or more words in a coded form, or to reduce the overall count of runes
in the inscription. A bind Rune is always counted as one Rune in the Rune count.

The purely ideographic binds Runes are the most useful in tine magick,
and their multiplicity of levels makes them very effective in refined
magick rituals. One of the oldest examples of this is found on the
brooch of Soest, circa 600-650 C.E. It is formed from the runes
, , , , and two .
The numerical total of these Runes is 66, or 6 x 11,
with a Rune count of 6 (see numerical symbolism).
This galdrastafr is a love talisman inscribed onto
a brooch and then given to a woman. The power of the taufr
draws upon the Ódinnic forces of double ansuz, with justice
and a call for success (teiwaz), out of need (nauthiz,
note the sexual symbolism here), for marriage (erotic union; gebo),
according to ancestral principles and territory (othila).
The Rune count and multiple of 6 emphasizes the erotic nature of the talisman.
The Runes may also contain an anagram of the old German man's name Attano
plus the sign of gebo (marriage). The analysis of old inscriptions
gives many clues to how to use the Runes in modern practice.


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Numerical Symbolism

Numerical symbolism plays an important role in the charging
and working of Rune tines, and it is often critical in other
types of Rune magick as well. In the ancient inscriptions it
is often found that the magician has in some way sacrificed
proper grammar for numerical (or ideographic) power. This
is done by omitting staves (especially vowels), or by
adding or doubling them.


Number is one of the three keys to each Rune.
The explanation of each Rune also pertains to its number's
symbolism. Indeed much of the interpretation is drawn from
numerical criteria. This section will only give a broad outline
of Runic numerology, it is up to the true magician to find the roads
to further power on his own.

The numerical values of
inscriptions, tines, and magickal formulas determine which realms
the powers of the Runes will manifest in and draws on the power
contained in that number to facilitate that manifestation. It is
usually best to aim for a harmonious and wide-ranged sphere of working
to give the ideographic and linguistic formula its maximum power. These
formulas may also change the overall power of the whole. Since every formula
and tine works on various levels at the same time, a general rule of thumb
would be the more levels of meaning you can pack into the least amount of
space, and the more cryptic you can make it, the more effective the magick will be.
This is important in the creation as well as the interpretation of Runic talismans.

Runic number formulas are analyzed in two ways: (1) the Rune count, that is, the number of staves used in the formula; and
(2) the total of the numerical values of each Rune used in the formula (as in gematria).
These numbers are then broken down into their multiples in order to further analyze their powers.

Either or both of these systems may be used.
The meaning of these numbers is twofold: they
indicate the sphere in which the formula will be
worked and the power that it will use in its working.

There are several "numbers of power" in both systems that
the beginning magician should concentrate on. For the Rune count,
the numbers 1 through 24 are all-powerful, and give the formula the
energy of the Rune of that number.

1=Fehu
2=Uruz
3=Thurisaz
4=Ansuz
5=Raido
6=Kano
7=Gebo
8=Wunjo
9=Hagalaz
10=Nauthiz
11=Isa
12=Jera
13=Eihwaz
14=Perth
15=Algiz
16=Sowelu
17=Teiwaz
18=Berkana
19=Ehwaz
20=Mannaz
21=Laguz
22=Ingwaz
23=Dagaz
24=Othila


Also, the use of any of the 24 Runes in an inscription provides a wide base of power
and invokes the force of the whole Rune row into the formula. To a 24-fold Rune count,
the number 8 and its multiples (and, of course 24 and its multiples) can be added to
maintain the whole harmony of power while intensifying its energy. The multiple of
the Rune count also modifies the potency of the Runes in subtle and ingenious ways.
These are common patterns in ancient inscriptions.

On the second level,
that of the numerical total of the Runes, there are many possibilities and powerful
numbers that direct the energy of the Runes in specific directions and give them special
magickal characteristics. Of course, the sums 1 through 24 indicate the sphere that that
particular Rune operates in. Prime numbers are especially powerful and express a tremendous
amount of will. Whatever the Runic total may be, it is through its multiple factors that the
root force of the number is manifested. Multiples of 3, and especially of 9, are powerful in
workings dealing with magickal forces that work on many levels at he same time, including the
earthly realm. Multiples of 10 are especially powerful when the intent is to cause a change
in the manifest world of Midgard (Middle Earth). Twelve and its multiples are also potent
in this realm but have a longer lasting effect. The number 13 and its multiples are the most
universal numbers of power. A large number of Runic inscriptions manifest this numerological
pattern. The number is indicative of universal potency and contains the mystery of eihwaz
as the world-tree (9) and the three realms (3) in the metaphysical oneness of Ginnungagap (1).
The number by which the "master number" is multiplied further modifies and directs the overall
energy of the formula according to its Runic nature.

All of these principles can be used when creating Rune tines and rituals;
however, they need not dominate the shape of the working. Let your intuition
and natural inclination is your guide. Magicians can perform Rune magick without
using numbers at all and not diminish their results in any way. The proper use
of Runic numerology is an art form in itself and one that needs to be supplemented
with a large dose of Nordic lore to be completely effective. The study and analysis
of ancient inscriptions should be your main area of focus, should you decide to study
this method of Rune crafting. As opposed to the Pythagorean and Gnostic ways of thinking,
numbers are not the rule of all things, but merely one among three equal expressions of the
same holy mystery contained in a Rune. To the Runic magician numbers are the connection and
interrelation in a cosmos that is in a perpetual state of ebb and flow.


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Color Symbolism

In the practice of Rune craft the color lore contained in the Eddas and in the
German saga literature is valuable material in formulating powerful visualizations
and ritual intensification as well in creating more complex talismans.


The
Chart of Correspondences contains more speculative
colors for each Rune, but the best guide is the intuition of the individual magician.
In this manner, as inmost others, the perspective of the consciousness alters the
perception of the concept, and it its the perception that provides the
best key for unlocking the concept.


Gold The light of the sun and the spiritual light shining from Asgard, the force of önd in the universe and a symbol of honor, reputation, and power in all realms.
Red Magickal might and main, protective power, spiritual life and vigor, aggressive force. The principal color of the Runes; also a sign of death. Often related to gold.
Blue The all-encompassing, all-penetrating, and omnipresent mystical force of the divine, a sign of restless motion, the color of Ódin's cloak. In its darkest hues it becomes one with black.
Green Organic life, the manifested force of fertility in the earth and in the sea, a sign of the earth and nature, passage between worlds.
Yellow Earthly power, a sign of desire and lust in a will toward manifestation. Related to both green and gold
White The total expression of light as the sum of all color - totality, purity, perfection, nobility, the disk of the sun.
Silver The disk of the moon, change, transmutation, striving for higher knowledge. A metallic version of white.
Black New beginning (as night and winter herald the birth of day and summer), all -potential, the root force of all things, knowledge of hidden things, concealment, the container of light.


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Transliteration of Modern English into Runes

The correspondences below are but a guideline for putting Modern English words
and names into Runic form. One should allow one's intuition and magick criteria
to be the deciding factors in determining whether or not it is best to just go
with the actual English sound rather than the literal correspondence.


When you start composing your own Runic poetry it would probably be best
if you stick to words with Anglo-Saxon roots, for questions of "correctness"
in transliteration are fewer when German words are used.
Modern English Sounds Corresponding Rune Modern English Sounds Corresponding Rune
A
N
B
O
C
P
D
Q
E
R
, in
final position.
F
S
G
T
H
U
I
or
V
or
J
or
W
K
X

(k+s)
L
Y
M
Z
or
TH
;
(voiceless;voiced)
NG
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Making Talismans

Cutting Wood for Talismans-The Ritual Talisman-Death of Rune Tines

Before trying to make a Runic talisman the magician should have a good
understanding of Runic lore and be fairly well advanced it the psychic
abilities needed for the successful creation of these sacred objects.
To be the most effective, Rune tines should be made in accordance with
the theories and ideology expressed by the Runic system.


If the talisman is to be made of wood, it should be made from a type of wood that
corresponds to the purpose of the talisman. For this one should consult the Chart of Correspondences,
or even better, use one's own informed intuition be one's guide. The possibilities of
using wood are limitless. Disks, plates, or rings made of copper, bronze, silver, or
gold can also be used. Other materials, such as a small and appropriately shaped stone or piece of bone will make an excellent talisman. Larger stones are good of stationary talismans,
and in such cases the magician will find it useful to have a consecrated hammer and chisel with
which to construct these Rune stones. Earthenware is another material that is receptive to
Rune loading; Runes can be etched into the finished object or they can be cut into soft, unfired
clay, properly colored, and then fired - all in a ritualistic process with powerful potential! Runic
talismans can also be made from parchment colored with pens, inks, and paints dedicated to the Runic arts.
These parchment talismans can then be carried, or they can be used as stationary symbols. The
of the magician is the only limit to the possibilities.

There are certain shapes that are more conducive to receiving Runic forms than
others. Solid rectangular shapes, such as a rhomboid, are used most often, for they
are very convenient and comfortable for tines that are designed to be carried on one's
person. Thin wooden staves (1/16 to 1/8" thick), cylindrical (of various lengths),
thin disks, rectangular plates, and segments of natural tree branches are also
frequently used. Pieces of jewelry of all types are excellent for creating talismans.

Necessity will guide the magician in constructing useful talismans.

The main requirement of any sacred talisman's appearance is that it contain
a symbol or symbols describing the purpose of the talisman and a "signature"
representing the person, persons, or thing to be affected by the energy of the
first symbol. This signature can be the name of the person or it can be some
other corresponding link; even physical proximity can serve to form this linkage.
Space on the object should be aesthetically allocated and divided according to
the Rune staves, holy signs, and signature to be used. Any combination of
these elements is of course acceptable.

The magician should experiment with various surfaces and tools to determine
what the best cutting techniques are for each. Time spent practicing the construction
of talismans will help the Rune caster to improve upon his or her charging and concentration
abilities. One general technique that works well for all types of materials is the precutting
of Rune bands; that is, cutting two grooves to act as the upper and lower limits for the staves.


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Cutting Wood for Talismans

Once the magician has selected the design for the talisman,
the hunt for the right tree from which to cut the tine begins.
When one has found the tree one wishes to use, one should approach
the tree in a ritualistic frame of mind, equipped with one's Rune knife,
at a time that seems to correspond to the talisman's purpose. Generally,
the most favorable times of day are dawn, noon, and twilight. Find a branch
on the tree that bends toward a quarter or eighth (of the heavens), because
that is sympathetic to the aim of the tine. Cutting a root at midnight is
appropriate for negative rituals and curses.


The cutting of the tine should be done in a ceremonial manner.
Begin by standing to the north or east of the trunk, facing away
from the tree, perform the
hamarssetning or other
suitable rite, envisioning the whole tree encompassed within
the holy-stead. Then place yourself before the branch, twig, or root
to be cut. You may have to climb the tree to do this, of course. Turn
your attention to the might and the wight of the tree by saying:

Hail to thee, might of (tree name)!
I bid thee give this branch!
Into it sends thy speed,
to it bind the might of the bright Runes
(names of the Runes to be used on the talisman)!


Now proceed to cut the portion of the branch you wish to use,
while humming or singing the names and/or mantra of the proper
Runes throughout the entire process.

Once the tine has been cut, the magician should then give
thanks to the tree's wight for its gracious gift.

Wight of (tree name), take my thanks
henceforth be thy might in this branch!
Deeply bound to the bright (appropriate Rune names)
working my will with speed.


The branch may then be trimmed and prepared for receiving the stave forms.
The talisman can either be ritually charged right then and there, or saved
until later and charged into the Rune caster's usual .

This ritual can be easily adapted for the selection and preparation of.
other materials to be made into sacred objects through the Runic arts as well.


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Death of Rune Tines

In most Runic formuálar not only should the definite purpose
of the talimanic being be clearly defined but also the length of time the wight
is to be vivified with the magickal force that gives it life. A convenient formula
for this is "until thy work is wrought."


The wight of the tine is a living being, therefore its death should be given a proper ritual.
This is to insure that the magickal force stored in the form will be redirected back to its
source (the magician), or as a form of sacrifice.

There are two principal ways
of performing this ritual. The first puts an emphasis on the wight's animate nature
and is patterned after funeral rites. There are two types of funeral rituals for reabsorption:
cremation and burial. Cremation is most effective in returning the power to the magician's
personal sphere, while burial is a potent way to direct the energy throught the streams of
the underworld. The second method, whice puts an emphasis on the dynamistic nature
of the rune's might, calls for a ritualistic removal of the Runes from the tine, using one's
Rune knife. The scrapings are then burned in the brazier, or fire-pot. (This method will also
work to banish the magick of another Runecaster.) In all caseds this should be done with simple
dignity, accompanied by a proper formáli of the magician's own creation. Proper
respect should be paid to hte wight, the Rune might, and the magician. This "ecology of power"
is much like the ancient Norse lore of rebith, which states that the innate might of the ancestors
is continually reformed in the descendents.




The Ritual Talisman

Whether or not the magician is performing a ritual to load a taliman,
a symbol representing the purpose of the rite can be made as a lasting
owtward symbol of the holy inner process that occurs during these rituals.
This is usually a bind rune or rune row, which is carved into or painted onto
a piece of wood or paper. The taliman should be displayed in a place where
the magician will see it regularly and often to constantly reaffirm his or
her link to the magickal energies. A smaller object that the magician
can carry may also be used.

This technique is only to be used for
rituals pertaining to ones desire for internal change in ones own consciousness.
For rituals that are designed to affect the outside environment it is best for the
magician to expend all possible energy during the working of the ritual, then make
a complete break with the energies so they can be free to do their work. In
cases such as these a constant reminder would just hinder the successful
fulfillment of the magician's will.


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All information in these pages comes from the following sources:


and The Book of Runes by Ralph H. Blum.

A now out of print and rare book and stones set.
It can still be bought, used, at the above link, though.


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