A Handbook of Saxon Sorcery & Magic: Wyrdworking, Rune Craft, Divination & Wortcunning - Alaric Albertsson 2017

The Futhorc: The Runes of England
Runes and Rúncræft

What exactly are runes?

The answer to this seemingly simple question is surprisingly complex. Superficially, runes are northern European alphabets that were in use before the coming of Christianity and during its early years in England and Scandinavia. The idea of using rune “stones” for divination is a modern contrivance. Historically, stones with runic engravings were not little pebbles, they were boulders. And the stone surface did not have a solitary rune engraved on it, but entire sentences inscribed in a runic statement. Rune stones were often erected as grave markers or monuments, and the inscriptions on them described the people or events to be remembered. The runes engraved on the huge stones consisted of the straight, angular strokes favorable for inscribing on hard surfaces.

Before we go any further, let me say here that you do not need to master the runes to succeed as a Saxon druid or witch. If you feel no affinity for these ancient symbols, you can skip ahead to More Magic Techniques and continue on from there to explore galdor, wortcunning, and wiglung. But rúncræft can be a rewarding study and can enhance any other techniques you may favor. Just as the rune sorcerer benefits from knowledge of magical herbs, the wyrtwita (herb sorcerer) and the galdre (song sorcerer) can benefit from knowledge of the runes.

The use of these northern symbols continued for some years into the Christian era before they were eventually replaced by the Roman alphabet. Scandinavian runes, in fact, were used well into the fifteenth century CE. In England, the runic alphabet was abandoned much earlier. The Roman-based alphabet used for recording Old English made some concessions to the old style, retaining runic-based letters, such as thorn (Þ), which have since disappeared.

The runes meant more to our ancestors than the modern ABC’s mean to us today. The word rune (Old English, rún) means a “mystery.” Each runic character represents a sound, much like the letters of our alphabet, yet each simultaneously embodies a sacred mystery. These mysteries were recorded in Iceland, Norway, and England in three separate Rune Poems and are further alluded to in an Icelandic text known as the Hávamál. Each poem describes the sacred mysteries of its respective culture. Just as these cultures—Icelandic, Norwegian, and English—bore some resemblance to each other, so too do their indigenous mysteries.

The three Rune Poems described the characters found in different rune scripts; the Elder Futhark (Proto-Germanic), the Younger Futhark (Scandinavian), and the Anglo-Saxon Futhorc (English). Most published material today focuses on the Elder Futhark, whereas this book will focus on the Anglo-Saxon Futhorc. The point I wish to emphasize just now is that there is no one single set of runes. While there are similarities between the various runic alphabets, there are also very distinct differences.

One commonality shared by all three rune sets is that the runes themselves are symbols. Often today the runes of the Elder Futhark are etched or painted on small stones and marketed for divination or fortune-telling. This has led to a common misperception that the stones themselves are the “runes.” A rune is a symbol of a mystery. If you do not have a symbol, you do not have a rune. A stone without a symbol is just a rock.

Small divinatory sets of runes—whether in the form of pebbles, baked clay, or antlers—may be a modern innovation, but this does not make them any less valid or useful for the contemporary Pagan. We make use of many tools that our ancestors did not have: personal computers, automatic dishwashers, propane camping gear, telephones. For example, a book like this one that you are reading, printed rather than hand copied, was unknown to the pre-Christian world. Modern sets of runes are a legitimate manifestation of an old and traditional method of divination. The Roman historian Tacitus described a procedure the Germanic people used for “casting lots.” The characters described by Tacitus were marked on slips of wood rather than more permanent stones or bone, so we see that divinatory rune stones are traditional in spirit if not in exact form. The important point to keep in mind is that the rune is the symbol, not the medium it is inscribed or painted on.

In the past, runes were often etched into weapons and armor to make use of their mystic essence. The appearance of runes on weaponry is well documented because iron holds up well over the centuries. Runes were prominent, however, not only on weapons but throughout the Anglo-Saxon world. Less militant objects, such as household pottery, have often been found with runic inscriptions. Evidence indicates that runes, in fact, were used far more often for charms and blessings than for divining the future. There were different techniques for using runes as charms, as we will discuss in a later chapter, Rúncræft.

In England, at least, runic symbols beyond those of the Futhorc are often found on pottery and other artifacts. Some scholars have suggested that these rune-like symbols may have been purely decorative. But just because we do not know the significance of a symbol today does not mean it had no specific significance fifteen centuries ago. These “decorative” symbols may have been personal glyphs or devices used to identify a family’s possessions. This would not be a surprising practice in a society that was largely illiterate. A symbol used in this way, however, is not truly a rune because there is no sacred mystery embodied in its form.

One commonality of the Elder Futhark, the Younger Futhark, and the Old English Futhorc is that they are all inseparably wedded to Germanic thought. The rune is a symbol representing a sacred mystery specific to the cultures of the northern European people. If you divorce the runes from these concepts, they are no longer runes, they are only Germanic symbols being utilized in another context. I am not suggesting anything horrible will happen when they are used in this way. Nobody is going to blow up because he or she used a rune without understanding the Germanic mystery it embodies. But just as it is not a rune if there is no symbol, it is not a rune if there is no sacred mystery.

Many people who use runes today use them for sortilege, the practice of foretelling the future by drawing random symbols or images. It is an ancient and time-honored system of divination. Admittedly runes can be used in this way quite successfully, but if this is the only use you intend, why bother with these odd and inscrutable European hen-scratches? The Tarot, with an illustration on each card conveying its meaning, is a much easier tool to master for the purpose of sortilege. I am not suggesting that the Tarot is in any way shallow. However, the cards of a modern Tarot deck are thoroughly illustrated, a convenience that runes lack. For that matter, you can make up your own set of symbols for sortilege; perhaps a heart for “love,” a dollar sign for “money,” a smiley face for “good fortune,” and so forth.

When people use the runes only for sortilege, the inherent mysteries represented by these symbols are typically reduced to simple concepts, one rune meaning “prosperity,” another meaning “fertility,” and so on. The depth and complexity of the mysteries are lost. None of the runes have one meaning. Each is a complex concept that can be interpreted in many ways depending on who and what and where you are at that moment in time. To connect with these sacred mysteries, with these elements of northern European spirituality, is the real value of runic study. I again refer students of the Futhorc to Travels Through Middle Earth: The Path of the Saxon Pagan for a deeper understanding of Saxon spirituality. Likewise for the student of the Younger Futhark, I would recommend any similar book on the spirituality of Forn Sed or Ásatrú. It is important to be spiritually centered in the cultural context of the runes to fully appreciate them.

The runes not only represent sacred northern European mysteries; each set represents specifically the mysteries of its respective culture. Since these northern people held similar world views, those mysteries often coincided, but not always. For example, there is a vast difference between the mystery embodied in the Anglo-Saxon cen and the corresponding Norwegian rune. In the Anglo-Saxon Rune Poem, cen refers to a fire; the corresponding Norwegian rune, kaun, describes an ulcer or sore that causes the death of children. Furthermore, these rune scripts vary in number, with the Futhorc having approximately twice as many characters as the Younger Futhark.

The divinatory rune sets sold today are almost always sets of the Elder Futhark. Unfortunately there is no lore to shed light on what meanings early Germanic tribes ascribed to them. The meanings given are usually derived from the much later Anglo-Saxon Rune Poem. These same meanings may or may not have been ascribed to the equivalent runes of the Elder Futhark. Runic meanings certainly differ dramatically between some characters shared by the Futhorc and the Younger Futhark. The Elder Futhark is so called, obviously, because it is the oldest of the rune scripts. Its exact age depends on whom you talk to and whom you want to believe. Scandinavian myth asserts that Odin (whom the Saxon Pagan knows as Woden) claimed the mysteries of the runes during a ritual of self-sacrifice where he hanged himself on the World Tree for nine days and nights. This event presumably occurred around 250 BCE.

Those who do not believe in the gods naturally dispute this origin, and instead look for similarities between the Elder Futhark and the Roman alphabet. The similarities in appearance are unquestionably present, especially with runes such as rád (R), hagol (H ), is (I ), sigil (S ), tir (T ) and beorc (B). The non-theist theories presume that these Germanic characters were copied from Mediterranean alphabets, thus pushing the origin of the Elder Futhark as much as four centuries (or more) forward on history’s time line.

As a Pagan, I do not see any inherent contradiction between these ideas. Obviously the mysteries would have to be discovered or codified before they could be passed on to humankind, and in “god time,” four centuries is no more than a blink of a divine eye. I care not a whit about the similarities between the various Futharks and the Roman alphabet. I will readily concede that the letter R may have inspired the form of rád, mostly because it does not matter. So what? The shape of a rune is its physical expression, not its divine essence. It may be true that the Roman alphabet inspired the shape and design of some of the runes, and it may at the same time be equally true that the runes themselves—the mysteries—were initially identified by Woden. These arguments are not mutually exclusive.

The oldest of the rune scripts, the Elder Futhark, consists of twenty-four characters. Today they are referred to by reconstructed Proto-Germanic names. The Elder Futhark is what people are usually talking about when they speak of “the” runes, and it is probably what you have been exposed to if you have read or studied anything about the runes before now. The good news is that all of your prior work will apply to some extent to a study of the Anglo-Saxon runes.

The Younger Futhark is the youngest of the rune scripts. These Scandinavian runes evolved as a distinct script around CE 800, around the same time that the Elder Futhark was disappearing from use. It was a tighter, more concise script with only sixteen characters. The Younger Futhark is rarely explored these days, which seems odd in light of the fact that Ásatrú, or Icelandic Paganism, is currently the most popular form of northern European spirituality in North America.

The Medoburg Kindred is a respected group of Ásatrúar with kinsmen in several eastern states. A few years ago they invited me to one of their blóts—a religious service—that a kinsman in Maryland hosted. Ann Gróa Sheffield and Richard Ambrose picked me up early on the morning of the blót, and we all took turns driving to the gathering. Once we arrived, I found their kinsman, our host, to be a man deeply devoted to his Icelandic spiritual heritage. He enlisted my help in cooking some lamb from Iceland. Icelandic sheep are a distinct breed, and this man was determined that the feast following the blót would have a connection with the island where his spirituality evolved.

Our host’s dedication to Iceland did not end at the feast table. He offered to consult the runes for some of his guests and, as an Ásatrúar, the runes he used were those of the Younger Futhark. He had carved his runes on wooden staves, or flat sticks. It was clear that this was no simple game of fortune telling. The first thing he did was take up the rune staves in his hands and pray to Odin. He stepped into the role of a gothi, an Icelandic chieftain-priest. Medoburg is an egalitarian kindred with no official chief as such, but at that moment, this man was our authority.

After praying for Odin’s guidance, the man drew three rune staves and interpreted them. Although the Younger Futhark consists of only sixteen symbols, there was nothing simplistic about these divinations. Indeed, the merging of Icelandic spirituality with Icelandic runes was, for me, a profound experience. Ann has since told me that she too uses the Younger Futhark exclusively now.

The mysteries of the Younger Futhark are described in two Rune Poems: the Icelandic Rune Poem and the Norse Rune Poem. The most obvious difference between the Younger and Elder Futharks is that the former lacks eight of the latter’s characters. But the Younger Futhark is not a runic alphabet with pieces missing. It reflects the unique mysteries of the Icelandic and Norwegian cultures. Some runes, while retaining the identical form, have very different meanings in these poems. For example, the fourth rune in the Younger Futhark means “the mouth of a river” in a Norwegian context. In an Icelandic context, however, this same rune means the All-Father, the god Odin. Some other runes of the Younger Futhark have equally distinct interpretations depending on whether they are viewed from a Norwegian or Icelandic perspective.

How can one rune have two different meanings? One might as well ask why the word bum means one thing to Americans and quite another to the British. Language changes from one culture to another, and the runes are, essentially, sacred languages. Some of the symbols for these cultural mysteries changed meaning on the voyage to Iceland. Each became a distinct voice describing the mysteries of its respective culture.

The focus of this book, however, is yet another runic alphabet, neither the youngest nor the eldest, but in between these two. The Futhorc, the runes of the Anglo-Saxons, consists of thirty-three characters. Of these, twenty-nine are described in the Anglo-Saxon Rune Poem. Our understanding of the Anglo-Saxon runes comes from two sources. The first source is the Rune Poem; the second is personal revelation.

Personal revelation can be entirely valid so long as we recognize it for what it is. Everyone who has ever written anything about the runes has included at least some of his or her personal revelations, or repeated those shared previously by other authors. Diana Paxson, writing about the Elder Futhark in her book Taking Up the Runes, does an unusual and exceptionally admirable job of distinguishing “Ancient Meanings”—interpretations based on the three Rune Poems—and “Modern Meanings.” But she is the exception rather than the rule.

The modern meanings of the runes—those meanings not found directly in the Rune Poems—are all derived from personal revelations. Often one’s personal revelations can be confirmed through consensus, but equally often a consensus coalesces simply because many people have heard the same interpretation. Even this does not invalidate the interpretation, but it is important to distinguish between these personal revelations and the lore passed down to us in the Rune Poems. For a study of the Futhorc, we must look specifically to the Anglo-Saxon Rune Poem as the source of this lore.

The origins of the Anglo-Saxon runes have been dated back as far as 400 CE, well into the Pagan era, but the Rune Poem itself was not composed for several more centuries and was preserved in a tenth-century manuscript. Thus we are looking at a poem composed and recorded by Christian scribes. For the most part, those scribes had no incentive or interest in preserving the earlier beliefs of the Pagan Saxons, so we must often read between the lines and search for clues to enlighten us as to those earlier beliefs. Here too I believe it is important to clearly distinguish, as far as possible, our own speculation from the actual words that have been passed down to us.

If you would pursue the study of the Futhorc, I urge you to keep these distinctions in mind. Always remember that the Rune Poem and the runes themselves are the ultimate source of all the revelation and speculation you will find espoused anywhere. Do not accept without question any other person’s speculations, including my own speculations in this book. What I have found in the runes and what others have found may help you on your own journey, but it is your journey. Look to the source—the runes themselves and to the poem that hints at their meaning—and form your own speculations. Meditate on a rune and find your own personal revelation. Explore the ideas and inspirations of others, but never lose sight of the source.

As mentioned above, the Futhorc has more runes than either the Elder or Younger Futhark. If you are already familiar with the Elder Futhark, you will see many similarities, because the meanings now associated with the Elder script have largely been extrapolated from the Anglo-Saxon Rune Poem. The Rune Poem also describes five additional runes not found in the Elder Futhark. Furthermore, the fourth rune of the Elder Futhark, the rune known as ansuz, becomes the twenty-sixth rune of the Anglo-Saxon Futhorc, where it is known as æsc and has an entirely different meaning. It is replaced in the Futhorc by the rune os.

I cannot overemphasize the importance of centering yourself spiritually as a Saxon Pagan if you would reap the maximum benefit of working with the Futhorc. Again, I recommend Travels Through Middle Earth if you do not know where to start in this regard. You will find that book has very little information about runes, which was intentional. An understanding of the runes is not a requirement for exploring Anglo-Saxon spirituality; however, an understanding of Anglo-Saxon spirituality is indeed essential for those who wish to fully explore the runes of the Futhorc.

Making a Divinatory Rune Set

Sets of the Elder Futhark are sold everywhere as “the runes,” but the entire Futhorc is much more difficult to find commercially. You will probably need to make your own set. This is easier than it sounds, and there is some benefit to making your own runes for divination. By making them yourself, you put a part of yourself into your runes.

The first thing to consider is the medium you will use. As we have seen, runes do not have to be painted on or carved into small stones. It is my personal opinion that stones are less desirable than other materials. Stone can be difficult to engrave, and paint is likely to chip away with use. That said, small, smooth river rocks are a good choice if you want to work with stone. A rune is carefully marked into each stone with a rotary engraving tool. Dremel is the best known brand, and these power rotary tools are often referred to generically as “dremel tools.” Obviously the pre-Christian Saxons did not make use of power tools, but they also did not carve runes on little pebbles, so the point is moot.

Runes can also be painted on river rocks, with or without the engraving. I have also seen stones marked with permanent marker pens. Whether using a pen or paint, the color is less likely to chip away if applied to an engraved indentation. As for what color to use, red is the obvious choice, as discussed in the previous chapter.

Antler and bone are two other durable materials that can be used for divinatory rune sets. Antler disks are sometimes sold by craft suppliers as “buttons.” Be sure to purchase buttons without holes drilled into them. Larger disks, at least one inch in diameter, are preferred. Antler is easily engraved with a power rotary tool, and it takes color readily. Bone is also an easy material to work with if you can find it in a usable size and shape.

In the first century of the Christian Era, the Roman historian Tacitus described a Pagan practice of carving lots onto slips of wood, and for this reason wood is a popular material for those who make their own sets of divinatory runes. As with the telga (Saxon wand), trees from the Anglo-Saxon Rune Poem are often favored: oak, ash, hawthorn, yew, or birch. But this is personal preference. Any wood can be used. Cut disks of wood from a sturdy branch at least one inch in diameter. If you do not want to cut your own wood disks, some craft supply shops sell buttons or disks of wood. Flat craft sticks can also be used for this purpose. If you do not care for the Popsicle stick appearance, clip off the rounded ends to give each stick a sharper, more rectangular shape. Craft sticks work especially well if you intend to cast or throw your runes for divination. When engraving wood, I recommend an electric wood burner. These are inexpensive and easy to use.

Perhaps the simplest medium for a set of divination runes, and the medium I recommend for beginners, is cardstock. Did the pre-Christian Saxons use cardstock? No. But ask yourself why not. Because they did not have cardstock to work with. There is no reason to suppose they would not have used it if it were available to them. To make a simple set of divination runes, buy a pack of blank, unlined index cards and use a bold red marker to draw your runes.

After you have decided what medium to use, you will need to decide how many runes you are going to make. There are twenty-nine runes described in the Anglo-Saxon Rune Poem, but there are four other runes that have no extant lore. I work with the twenty-nine, using the others only in writing, but you may decide to work with all thirty-three symbols, relying on your intuition to understand the four runes we have no historical understanding of.

Some rune sorcerers insist that the runes must be “blooded,” that is, marked with your own blood. This belief comes from the Hávamál, a poem from the Poetic Edda. But the poem is referring to using runes in active magic work, not in divination. Staining your runes with your blood creates a bond because of the Law of Contagion. On the other hand, many people—probably the majority—who practice runic wiglung (divination) do not mark their runes with blood, and this does not impede their ability in any measurable way.

You may be fortunate enough to find a set of Anglo-Saxon runes for sale at your local alternative spirituality shop, or perhaps at a Pagan festival. You do not have to make your own set if you can acquire one in some other way. The two sets of divinatory runes I use most often were gifts from my híredmenn (members of my tribal family), and both sets work quite well. I also have sets of runes made by other people in every medium that we have discussed: stone, antler, bone, wood, and even cardstock.

I need to include a word of caution here concerning commercially produced rune cards. As with other sets of runes, most of these are usually decks featuring the Elder Futhark, but occasionally decks of Anglo-Saxon runes (Futhorc) are published. Whether Elder Futhark or Futhorc, these decks are illustrated with images intended to convey each rune’s meaning or mystery, much as the Tarot is illustrated for the same purpose. I have been extremely disappointed with the rune decks that I have seen over the years. The artist almost invariably embellishes his or her illustrations with personal and fanciful images that are not supported by the Anglo-Saxon Rune Poem. The only deck I can recommend is the Martin Rune Deck, published by Wolfden Designs (http://www.wolfden-designs.com). The cards in this deck are attractively illustrated with images that are faithful to the lore.

This section of the book has been designed to help the reader grasp and claim the mysteries inherent in the Futhorc. It is a good idea to have a set of runes—whether these are stone or bone, antler or wood, or cards—to use for study and meditation. As you examine the runes, explore them one chapter at a time. This will be more effective than leaping around from one chapter to another. Unlike most books, which describe the runes in “alphabetical order,” the runes are presented here in conceptual groupings. I have known quite a few people who diligently studied the runes and then later could not remember the distinction between sigel (sun) and dæg (day). By grouping these two runes together—along with others—in an earthly runes category, the contrast should be more readily understood.

Working through the following chapters, we will begin by looking at the trees and plants of the Rune Poem. From there we will go on to the animal runes, then the aforementioned “earthly” (natural) runes followed by a grouping of runes describing human activity and interactions, and finally runes that I define as belonging to the “outer world.” This last category is different from the earthly runes in that the symbols represent mankind’s own interactions with the world.

Each rune section begins with the rune itself, its name, and its English meaning. The next item in parentheses is a rough guide for pronouncing the name of the rune. After this, I give the appropriate section of the Rune Poem in Old English, followed by my own Modern English translation.

I recommend keeping a study journal. As you read about each rune, write down any passage or phrase that seems to stand out. Add to this any personal revelation that may come to you as you meditate on the rune. Do not worry about what that revelation may or may not mean as you record it. Later, as you progress in your studies, you may find deeper meaning in your vision.

Meditation is important to your understanding of the runes. You can read what I have to say about them and what other authors have said about them, but what are the runes saying to you? These are powerful symbols. They can speak to you, but in order for them to do so, you must take time to listen.

As you work your way through the next five chapters, spend some time with each rune before moving on to the next. Read the translation of the respective passage of the Rune Poem. Look at the rune itself and try to connect with it. For each rune, I give a description of its form and how I personally relate to this. There is nothing traditional, historical, or official about my commentaries concerning the shapes of these symbols. You may relate to the rune in an entirely different way, and that is perfectly all right so long as you relate to it in some way. Remember that the runes themselves embody mysteries.

Meditate on each rune before going on to the next. Close your eyes and focus on your breathing until you reach a calm, relaxed state. Visualize the rune itself. Let it speak to you.

You may want to begin your meditation with a brief prayer to Woden for guidance. In Germanic belief, the god Woden is the master of rune magic. He appears as an old man, often hooded or wearing a floppy brimmed cap. Your prayer need not be lengthy or complex. It can be something as simple as, “Woden, wise one, I ask for understanding of (name of rune).” An offering of beer or mead is a nice gesture too. After all, if you are going to ask for something, it is only polite to offer something in exchange.

Let me hasten to add that there is nothing wrong if you are not receiving a flood of personal revelations during these meditations. You are merely listening to the runes, giving these symbols an opportunity to speak to you; you are not demanding explanations. If you do not get any impressions, it may be because you already have a sufficient understanding of that mystery. And by sufficient, I mean sufficient at this time. The study of runes is an ongoing, lifelong process.

Do not rush the first steps of this process. There is no reason you should attempt to comprehend more than one rune each day. If you work at this daily, you will have examined all of the Futhorc in about one month. You cannot devote ample attention to each rune if you go any faster than this.

Remember to keep a record of your progress in your journal. It is a good idea to devote a full page or two to each rune. Even if this leaves a lot of blank space, you may have more notes to add later.

While it is essential to develop your own relationship with the Futhorc, the perspective of another person can be of considerable help. At the back of this book is a bibliography that includes rune books written by a variety of authors. As you study the runes, do not hesitate to seek out the opinions of others. Just keep in mind that their views are indeed opinions, speculations, and personal insights. The only historical knowledge we have concerning the mysteries of the Futhorc is what we can discern from the Anglo-Saxon Rune Poem.

You will find, too, that almost all of the books in the bibliography devote themselves to the Elder Futhark. This does not negate the value of these books for those who would study the lost runes of England. As mentioned earlier, the meanings assigned today to the Elder Futhark are primarily taken from the passages of the Anglo-Saxon Rune Poem. Likewise, the modern commentaries and insights concerning the Elder Futhark are often rooted in those same Old English verses, so do not accept what I have to say in this book as your one and only truth. Other books will give you a broader perspective. When you see a strong conflict between what I say and what someone else says, return to the Rune Poem and consider its words carefully. These verses or passages are the only extant lore preserving the mysteries of the Futhorc.

In your studies, do not hesitate to supplement your reading with your own personal revelations. During your meditations, a rune might speak to you in some way that is inconsistent with the Rune Poem. This does not mean that your revelation is invalid. The runes hold very deep mysteries, and how one of these ancient symbols speaks to you may be entirely different from how it speaks to me. You will probably notice after a time that you have a closer affinity for or understanding of some runes than of others. There are a great number of factors—lifestyle, career, affectional orientation, age—that can influence how the runes speak to you. In the third chapter, I discuss the rune feoh, a rune meaning “cattle,” and I explain that it rarely indicates a cow for those of us who use the runes today, but if you happen to raise cattle, whether for a hobby or for a living, that is very likely the meaning this rune will have for you.

If you wish to work with the final four runes of the Futhorc—cweorth, gár, calc, and stán—you will have to rely entirely on personal revelation. As we will discuss later, there is no surviving lore to give us any insight as to the mysteries inherent in these runes.

To make the most effective use of this book, I recommend you follow these steps for each rune:

· • Read the section of this book pertinent to the rune, paying particular attention to the Modern English translation of that passage of the Rune Poem.

· • Look at the rune itself, at the shape of the symbol. Refer back to my commentary on the shape of that rune. If this does not make sense to you, study the shape of the rune and see if there is something else you can relate it to.

· • Ask Woden for guidance, and then meditate on the rune. Sit in a quiet place with your eyes closed and concentrate on your breathing until your mind is calm and relaxed. Visualize the shape of the rune and try to keep that shape focused in your mind. Let the rune speak to you, if it will.

· • Record any insights you may have concerning the rune in your personal journal, even if those insights make no sense to you at this time. I also think it is a good idea to record the relevant passage of the Rune Poem, so you can readily compare this with your insights.

After this, the next step in mastering the runes is practical experience. I was going to say the “final step,” but there never will be a final step; you can work with the Futhorc for decades and continue to discover more about these symbols.

In the next chapters, we will discuss and explore the twenty-nine runes described in the Anglo-Saxon Rune Poem, but for now, as an easy reference, here is my translation of the poem itself:

The Anglo-Saxon Rune Poem

FEOH (Cattle) are compensation for everyone, though each man shall greatly share his if he will be awarded honors from his lord.

UR (Aurochs) is brave and has horns above, this very fierce animal fights with its horns, a great wanderer of the moors, it is a proud creature.

THORN (Hawthorn) is exceedingly sharp for every servant, seizing it is evil, and it is extremely harsh to each man who rests among it.

OS (The God) is the creator of all language, wisdom’s foundation and consolation of sages and every man’s joy and trust.

RÁD (The Ride) up to every man’s hall is comfortable and very fast for he who sits high on a mighty horse over the miles.

CEN (Pine) is a tree known by all for its flame, shining and brilliant it often burns where the people relax inside.

GYFU (A Gift) from others is an honor and praise, a help and of worth, and for sojourners everywhere a benefit and presence that is otherwise missing.

WYNN (Joy) possesses him who knows little want, illnesses and sorrows, and himself has prosperity and happiness and also a sufficient dwelling.

HAGOL (Hail) is the whitest of seeds, its circling comes from the lofty sky, it tosses in the wind’s shower, it then becomes water afterwards.

NÍED (Need) is oppressive on the heart, although it often befalls this affliction of men to help and to heal somewhat, if it is heard beforehand.

IS (Ice) is extremely cold, very slippery,it glistens clear, like precious gems, a floor wrought by frost, fair thing seen.

GEAR (The Year) is mankind’s joy, when the god bequeaths, ruler of the sacred sky, the earth offers splendid crops for the well-born and the poor.

ÉOH (Yew) is a rough tree on the outside, hard and secured in the earth, keeper of the fires, sustained by deep roots, it is a pleasure to have on one’s land.

PEORTH (Gaming) is always sport and laughter, where boastful they sit to make war in the banquet hall cheerfully together.

EOLH (Elk-Sedge) is native to the marsh, it grows in the water, it can wound cruelly, the blood of any man burns who in any way dares to seize it.

SIGEL (The Sun) for sailors is always hoped for, when they depart over the fishes’ bath, until their ship carries them to land.

TIR (The North Star) is one signal, it holds faith well with nobles, it is always on track, throughout night’s darkness it never deceives.

BEORC (Birch) is without fruit, it bears even so, it bears shoots instead of fruit, its branches are beautiful, high in the tree tops decorated attractively, laden with foliage, lofty pressing.

EH (The Horse) is for lords the joy of the aristocracy, horse hooves boastful, where around the hero, prosperous in respect to horses, it exchanges discourse, and its restlessness is ever a help.

MANN (Person) with joy is beloved of his kin, even though each one depart away, for moreover the lord wills his fate, the destitute flesh be delivered to the earth.

LAGU (Water) seems of endless length to people, if they must venture on unstable ships, and the sea waves terrify them exceedingly, and the ship does not heed its reins.

ING (Lord Ing) was first seen among the East Danes it is said, until he later went back over the sea, his chariot following after, thus the brave men named that hero.

DÆG (Day) is the god’s ambassador, beloved of men, the great god’s light, mirth and also hope, prosperous and poor, all enjoy it.

ETHEL (Home) is very dear to all people, if there they have the opportunity for justice and honesty while enjoying prosperity in the dwelling most often.

ÁC (The Oak) is on Earth for the children of men, meat-animal’s fodder, it travels often over the gannet’s bath, the sea tests whether the oak possesses noble truth.

ÆSC (Ash Tree) is lofty, glorified by men, stiff in its trunk, it holds its position exactly, although it fights against many men.

YR (Bow) is for noblemen and warriors everywhere joy and a mark of distinction, upon a fair horse, steadfast on its course, a part of the war-gear.

IOR (Beaver) is a river fish, and though he resides there, he forages on land, he has a fair dwelling, water surrounding, that place he joyfully holds dear.

EAR (The Ground) is loathsome to all men, yet certainly the body will be set upon there, the corpse grows cold, the soil accepts its pale bedfellow; leaves fall, pleasures depart, men cease to be.

Following the chapters describing the runes is a chapter on rúncræft, or rune magic, and later a chapter on wiglung, including runic divination. Both of these arts will give you practical experience to deepen your understanding of the runic mysteries. In the chapters describing each rune, I have also included possible rune combinations to use for crafting charms and runic helms.

Whether we use runes for magic or divination, the value of these lost runes of England is directly proportionate to the degree in which we incorporate them in our daily lives.

Review

1. What does the word rune mean?

2. Which is the oldest of the rune scripts? The youngest?

3. What is sortilege?

4. Why are woods such as oak and birch often favored by rune workers?

5. What do the runes cweorth, gár, calc, and stán have in common?