Translated from Spanish to English - www.onlinedoctranslator.

com

SECOND PART:
THE RUNES AND THE
INITIATION

91
ODIN AND THE RUNE INITIATION

From the descent to the darkest depths the Virya transmutes and rises to
the most distant heavens.

The profane uses that have been given to runes as phonemes that constitute
the structure of a spoken and written language are already known. At a more
esoteric level, its uses are known for divination or synchronistic relationship of
events; likewise for activities in the field of magic referring to protection,
defense and attack against rivals; for rituals that invoke well-being, health and
wealth; for the invocation or evocation of forces that promote victory and
success in battles, travels and conquests.

However, all of the above would become part of the framework of a minor
magic, or small work, or more exactly small war as they would say in Shiite
Islam, the war entrenched in the phenomenal external world. But in a different
area, what is related to the great work or great war unleashed within each
virya and magician of the runes would be framed. Guido Von List was talking to
us about this when referring to the triple meaning of the runes: an exoteric
one of profane and common knowledge, another more specialized one
referring to an outer esoteric circle, and finally a third meaning for an inner
circle only accessible to those who follow a path of initiation and true gnosis, a
complete interior mutation.

The awakening and invocation of runic forces can gradually generate a process
of transformation and inner hardening similar to that experienced in certain
esoteric sciences such as Alchemy and Tantrism or sexual magic. It is called
hardening because the objective in these practices is to create a subtle but
powerful, concentrated and impenetrable force similar to a diamond or a
crystal. The objective is to form and consolidate a “very tough” spiritual
essence that not only serves as a support to cope with the events during daily
life but also survives the crisis of the death of the human body (microcosm)
and the subsequent moment in which the elements linked to the soul and the
“double” or astral body are diluted in the waters of the future of the
macrocosm, like a drop of water that is reabsorbed in a psychic ocean.

92
This subtle body or double of the physical body is known as “Linga Sarira” in
Sanskrit, “anima” in Latin and “psyche” in Greek; In the Nordic tradition it has
been called “Vard”. The subtle body is attached to the emotions and feelings of
the soul, which if it is not sufficiently controlled and transformed from a higher
spiritual center and principle, acquires a feminine character in a harmful sense,
entering into a mechanism designed to feel pleasure with suffering.
(masochism). Starting from an unconditioned and perennial principle, superior
to the soul, both alchemy and Tantrism seek to generate an inner marriage, in
which the initiate recreates himself, gives birth to a new being whose gaze is
fixed on a center-Vril analogous to its original partner lost in the night of time
and in the precipitation of the divine spirit in the material universe governed by
the law of duality. The original couple can synchronistically be reflected in a
person or event in the outside world as support or anchor for the work of inner
transfiguration.

The virya must go through the stages that in alchemy are called Nigredo,
Albedo and Rubedo (referring to the colors Black, white and red). The first is
related to the initiatory death of Odin in which the virya self-crucifies and
voluntarily accesses the regions of Hel, the world of the dead and its dissolving
waters to understand the mystery of life and death and recover divine power.
and wisdom: the runes. Although he actually recovers only one rune, the rune
of spiritual origin which contains all the other runes. In this stage the virya
recklessly faces the gaze of the goddess, who contains in herself the archetype
of dissolution, sex and death. In a way he relives the moment of spiritual
descent into matter, only he travels the path in the reverse direction. After
going through this crisis or test, the virya enters the stage of Albedo in which
he stops projecting his gaze outwards (which is like a generating seed of
Vanaheim, the world of the Vanir, fertility and magic) and begins To project it
inwards, he “pregnates” himself and acquires real vision, the eye of Shiva, an
understanding that is not entangled in dialectical or intellectual labyrinths (in
early Buddhism this quality of seeing according to reality is called “Yhata
Bhutam”1).

The waters of life and death rise through the alchemical athanor and thus the
initiate reveals the hidden meanings, in addition he controls his unconscious
part, tames and rides his horse, he is no longer thought and acted by the
external archetypal psychic and emotional complexes. and internal elements of
the macrocosm and the microcosm, it stops being a “robot” programmed by
external software to react according to a certain number of conditioning
variables, it destroys its aggregates that make up a false personality. The virya
takes over the microcosm of him and begins to actually think “his” thoughts of
him and acts according to his own spiritual will. In a few words, Albedo could
be described as seeing the true light and integrating the self after facing one's
own infinite void and absolute darkness which are not tied to any defined form
or archetype.

1Common term in Buddhist texts such as Majjhima-nikayo and Anguttara-nikayo.

93
It should be remembered that several gods in Norse mythology (including
Odin) have the ability to change their appearance, they can shape their “Hamr
” (form projected by individuality) as needed. Finally you access the Rubedo, in
which you reach your infinity-center, the vril. He becomes a Siddha because he
himself is his own universe, his own creation and a macrocosm in himself. His
thirst and his hunger end, his nostalgia for “something” that he always looked
for outside himself consciously or unconsciously because of an emotional
urgency of the soul that was actually driven and set in motion by his spirit to
achieve that essence. what he needed to feel truly complete.

In a man that center is actually analogous to a cold feminine presence, it is a

frozen fire from another world, the graal, his original partner, from whom he
separated when his spirit descended into the material universe, perhaps that is
why the ancient Norse they called the sunSunnahand the japaneseAmaterasu,
that is, they attributed a feminine and not a masculine character to the star,
because it symbolized the memory of a primordial state and they also referred
to it as an “inner sun” (the black sun) instead of simply worshiping it as a
pantheistic exterior sun, being The latter is a common sign in the distorted
priestly cults of the stages of decline of many civilizations. The path of Odin,
the path of the true Hyperborean Kristos, asks precisely to recover that
diamond inner center, which does not imply for a man to effeminate his
behavior and external appearance, nor does it imply submissive and
sentimental attachment to the heat and instability of the love of an earthly
woman. , since this would mean looking with both eyes “outside” and it must
also be remembered that in the myth Odin looks outward with one eye and
with the other eye that he sacrificed he looks inward. The cold woman will
never really possess herself outside, but inside herself.

The Taoist symbol of ying and yang has in each of its halves a point or tiny
circumference that is precisely related to the center already described. It is the
feminine within the masculine and the masculine within the feminine, tension
in relaxation and relaxation in tension. For a man, finding the center does not
mean “softening”, on the contrary it means becoming virilized in a spiritual
sense. The center is activated by alchemical mercury related to a fragility that
makes sulfur react, which precisely makes that liquid metal "boil" so that it
rises through the athanor, the fuel that ignites the fire of the spirit should not
be wasted to consolidate the work of the absolute man and the absolute
woman. The Swiss Carl Jung refers to the center as self, and this during the
process of inner transmutation of a Virya-Man can be reflected on the outside
through a Valkyrie, a brave woman who in the Nordic tradition accompanies
the warriors to Valhalla afterward. of a heroic death. In an Intersection of wills
each infinite spirit (analogous to a sphere) is projected outward, towards the
reality of another. The intersection between both spheres forms an ellipse or
“eye” which is the graphic shape that represents the cavities of the body
responsible for relating it to the outside world: Mouth, eyes, nostrils, female
sex (the Pythagoreans referred to the intersection symbol as “Vesica Pisces").

94
The Virya must remain concentrated in its center or else it will become
attached and the cold woman will stop being cold and through the intersection
it will be absorbed by the illusory Mayan aspect of said woman. In both
Alchemy and Tantrism you can develop a relationship with a “flesh” woman
that reflects or mirrors the inner transmutation. Similarly to the Flamen
magician of ancient Rome for whom the company of his Flaminia was
necessary, she followed him in his activities but nevertheless she was the
source of power for him, without the transmission of her subtle magical
energies the actions of the Flamen became inert (in the same way Shiva is
represented without Parvati). It is important to note that in this path of
initiation the Maternal or Paternal complex must first be purified and
transcended.2since, for example, a man sentimentally dominated by his
mother will hardly be able to go beyond the awakening of a telluric and
volcanic fire without achieving the runic or alchemical transformation of this
sulfur, so the work will remain halfway. It is also possible that he will not be
able to overcome a virility classified only in the phallic aspect related to fertility.
The Tyr Rune, the spear and phallus of power that penetrates and slashes,
must be directed towards infinity, not only towards its natural environment.

The initiate who has achieved transmutation, that is, a diamond body of red
vajra, can continue to live between the different planes of the material
universe, but he will possess characteristics similar to those of Odin after his
self-crucifixion on the world tree: In the myth Odin sacrifices his left eye to
access the source of Mimer in Jotunheim (world of giants) and thus can recover
his memory (Minne) to be able to know the wisdom of the runes in Helheim
(world of the dead and Hel , goddess of life and death). The sacrificed eye
actually began to look inside itself, towards its spirit, towards its infinite center
that in relation to the external material world appears as absolute darkness.
The material eye sacrificed itself to become a spiritual eye. The other eye that
he preserved is looking at the outside world but it always does so by
referencing and discerning from its center all the information it receives
through the senses. Odin lives and looks simultaneously towards two worlds:
With the eye that he lost he looks towards the infinite origin and with the eye
that he preserved he looks towards the material world. From the first eye he is
supported to act according to the influence and ethics of the unknowable and
eternal world.

One half of Odin is in eternity and the other is in the conditioned material
universe. Odin rides the steed Sleipner which has eight legs because half of
them are the shadow or material reflection of what is true and eternal, this
being similar to Plato's cave myth in which the common man sees images that
he believes to be real. but they are only the projected shadows of the true
world. Therefore Odin lives in two universes simultaneously, one that is
infinite, uncreated and that is actually himself, his own creation; and the other
that is finite, created and governed by laws that unfold in the process of the
manifestation of time and space.

2Ina vulgar and debased way, a first stage of this is referred to in psychoanalysis as the Oedipus
complex and the Electra complex.

95
Each rune in itself has an initiatory value, all runes contain a part of the great
secret, the great mystery, gnosis and initiation. Likewise, each virya finds its
runes, reaches its infinite center by one path or another, by one or another
rune, although in reality all the runes are the same rune, they refer to the same
mystery: the mystery of the graal, the elixir of the eternity. It is an instance
analogous to that of a primordial ancient civilization of Hyperborean heritage
in which from a well-differentiated and characterized part the whole was
accessed and from there the infinite was perceived. The totality reflected in the
entire spiritual race was reflected and experienced in the same way in each
caste and in each person. Later in this chapter a brief reference is made to the
symbolism of only nine runes, but in reality everything described always refers
to the same rune, to the same runic whisper, to the same song of the gods.

96
UR RUNE AND THE ORIGIN

You can ask this rune magically if you want to know your own or another
person's intimate nature.

UR reveals the origin and ancestry of beings, the soil that nourished it and the
mother who nourished it. He reveals the marks rooted deep in the soul.

The UR rune is not deceived by rational delusions or pretended appearances.

UR transparently shows what one is and has been in the same way that a
mirror does not lie to its observer.

The origin will be revealed by projecting UR on a mirror and visualizing in it one's

own image or that of another person, one will know if one is from a humble birth
or a privileged birth, if the spiritual influence comes from paternal lineage or
maternal lineage.

If immediately when meditating with this rune you do not hear its whispering
voice, during the next few days the answers to the questions will arrive in
dreams.

97
IS RUNE AND TANTRIC ALCHEMY

The Is rune is commonly associated with the element ice, that is, with that spiritual
principle that remains firm, hard, impassive and imperturbable before the flow of
worldly destiny.

It represents the hardening or freezing of the waters that flow without stopping
and that generate the becoming and instability of the illusion of maya, as well as
the pain and eternal thirst of Samsara.

The stone of cold fire in opposition to the heart of hot fire willing to make a
soul suffer and enjoy in a succession of several times seven ordeals its painful
evolution towards the dissolution of the spirit.

The mercurial waters boil due to sulfur and their course is reversed, they flow
upwards and not downwards to solidify salinely.

Similar to the TYR rune, the IS rune is also analogous to the lingammenhir of
Shiva, the scepter of spiritual virility, the diamond ray, the vajra with which the
God Creates and destroys worlds by means of his power of mental concretion.

But we must not forget that Shiva's lightning owes its power and hardness to the
chalice with the red elixir given by the priestess Kali-Parvati.

The woman who can never be possessed outside runically marks the stone-
child that is gestating inside the Virya.

98
RUNA BERKANO AND THE TRIPLE
GODDESS

Berkano in a horizontal position denotes the Mountains that rise above the
telluric horizontal line. Mountains that protect and guard a treasure.
Mountains that in their deep caverns consolidate a process of creation, death
and rebirth.

We must remember the medieval legends about King Arthur or Emperor

Frederick II of Hohenstaufen, it was said that they had never actually died and
that they were sheltered in a mountain cave waiting for the auspicious
moment in which they would be reborn and return to the world. to install the
universal empire, the return of the grail:

Three mountains in a row represent the Norns Urd, werdandi and skuld,
references of THE TRIPLE GODDESS:

Spiritual transmutation is facilitated by transcending the dual illusory

manifestations and enduring the gaze of the Goddess of the middle:
- The Nordic Norm of the Eternal Present, Werdandi
- The Greek reaper Lachesis.
- The Greek grace that, standing in the middle of its two companions, turns and
looks behind
- The Koria, Cretan priestess with bare breasts who held two snakes tightly
with her hands.

99
The contact and transcendence of the goddess of the middle entails the return to
origin, to the center and the original couple who are reintegrated.

The trinity of triangles form a large equilateral triangle with an inverted

triangle inside.

The large ascending triangle symbolizes the masculine spirit that rises and the
descending inner triangle represents the Vril, the center, the self, the original
couple recovered and reintegrated. The potency and power of manifestation
within himself to be his own creation, to exercise his absolute will:

100
DAGAZ RUNE AND TRANSMUTATION

The Dagaz rune has the shape of the wings of a butterfly, as it represents the
illumination that gives way to internal transfiguration, the change of inner spiritual
state, the chrysalis that transforms towards a higher state in which one can fly
towards unthinkable things. heights.

The Dagaz rune symbolizes the integration of two into one, that is, reversing the
separation of the origin, the descent of the spirit into matter, reintegrating the
original center-couple. The double masculine-feminine element that is
transcended and gives way to three, the stone son who remembers the god he
has always been. Father, mother and son in one.

The man “fertilized” by the seed of eternity gives birth to his spiritual son and is no
longer an ordinary man, he is an infinite Siddha and complete in himself, he is his
own creation.

The eternal thirst and insatiation end and there is no longer a need to search with anxiety,
nostalgia and despair in the midst of the illusion of maya for the hidden wisdom and the
power/potency of generation represented by the feminine.

Dagaz is the understanding of the runic paradox, a stage higher than the
opposite extremes.

101
RUNA EHWAZ AND THE MAGICAL
MARRIAGE

+
Ehwaz in its M form is actually made up of two Laguz runes facing each other.
Two lives that come together in a MAGICAL, ALCHEMICAL AND SPIRITUAL
MARRIAGE, personifying in the created the unity of the original uncreated
couple. The life of a king and a queen, lord and lady of themselves, who unite
on a single path to dignify and spiritualize life and family lineage.

Likewise, this rune of magical marriage is linked to the symbol of the horse: the
libido (engine of the world's flow) and sexual force of reproduction that is elevated,
dominated and sublimated both in heaven and on earth.

This double resignification (resignation, assigning a new meaning) can be

represented with the eight-legged horse or also by the symbol of the two
horses in which a white horse is pursued in parallel by a black horse, its
shadow.

This rune is very powerful and produces strong effects if it is meditated or its
stadha (body position) is done between a couple of lovers between whom there
really is a spiritual bond and not just a circumstantial one or one of material
convenience.

102
ODAL RUNE AND THE INEXPUGNABLE
WALL

In Odal two Laguz runes join to form a fence not only of a marriage but of a collective
clan. From a group of “similar” people on an internal and external, spiritual and
physical level. The “marriage” between the clan generates the breeding of an
aristocratic elite that guides and carries out the interests of the group inside and
outside the kingdom. The meaning of this rune can also be associated with the symbol
of the two horses and double resignation.

+
Odal can also be perceived as the sum of two Sieg runes, The double rune of victory,
the double celestial ray that symbolizes the triumph of the eternal in this and in the
"other world", simultaneous victory in the illusory reality of maya and in the
unknowable world of infinity.

+
103
A similar meaning emerges from an odal rune with a central axis: formed by a
Raidho rune attached to another reversed Raidho rune, although this symbol is
more oriented towards understanding and mastering the rhythms and cycles of
cosmic time, realizing and consolidating a kingdom. -stable fence in the midst of
the opposing positive and negative forces that imply the passage of time and
future.

+ =
This runic form gives way to various Binde-rune (composite runes) such as the
Tyr-odal rune in which we have the Odal rune of the fence on the earth that
through the vertical axis Tyr rises towards infinity.

Another Binde-rune is the one formed by an odal rune and a double algiz rune, it
represents celestial protection and prosperity reflected on the earth, Asgard
reflected in Midgard.

104
RUNE Y.R. :DECLINE OF THE

SPIRIT

Similar to the Naudhiz rune (Nod in the Armanen or Naudhr in the New
Futhark), the negative meaning of this rune can be reversed into a positive
one, by viewing the YR rune as the symbol of the higher spiritual principle that
willingly descends to cast deep roots that germinate and bear fruit in a higher
knowledge and self-transformation: Dominion of the uncreated spirit (Nous in
Greek – Mens in Latin) over the micro-cosm linked to the conditioned world
and which is made up of the soul (Psyche-Anima) and the body (Soma-Corpus),
to do this first the spirit must “die”, since for the eternal uncreated spirit being
born in the world of material entropy is equivalent to a death.

To be born again and become an Aryan or an Ariya, that is, a twice-born person,
one must descend to the greatest darkness and depth of oneself to recover the
runes in the middle of the realm of death and thus understand the veil of death.
illusion, to Maya.

It is no coincidence that in the myth of Odin, he crucifies himself upside down

on the Iggdrasil tree to find runic wisdom and the secret of life and death:

After overcoming the test of death, man is reborn and rises as a total man,
reintegrated, conqueror of death and matter. This is represented by the Hagall
Rune: the union of the YR rune with the Elhaz rune (the same Man in the
Armanen or Maudhr in the New Futhark):

+ =
105
Triple Hagall: Union of Triple Elhaz and triple YR, masculine trinity and feminine
trinity, Wotan, Wili, Ve in constant tension with Urd, Werdandi, Skuld

The virya has seen and recognized the runes in the world of illusion. The runes are the
reflection of the uncreated in the created and through them he awakens and through
the grace of his beloved-graal he remembers his divine origin. In this way he accesses
the vertex/angle that connects him from the temporal and finite to the eternal and
infinite.

The two lower realms of being (body and soul) are mutated by the spirit and the virya
is no longer subject to the orders and functions of the great mechanism of entropy
and dissolution of the illusory world of maya. He is master and lord of himself, through
the runes he directs his own kingdom.

The YR rune gives us wisdom about the feminine principle, which can free and
deify the virya as much as it can bind it more and be its source of perdition. The
feminine is also reflected in the hermetic symbols of water and earth:

The waters of life and death, dissolution (Hel), fertilization (Freya) and rebirth
(Ostara). Water is related to the undines who take care of the gold of the Rhine,
the treasure that emerged from the most remote depths. It can also be associated
with the lady of the lake who gives a new sword to King Arthur, a symbol of the
spiritual virility with which he renews her “kingdom.”

The earth is associated with the Matrix of the earthly world (Maya, Mara, Ama,
Demeter) and adopts the role of begetter/mother of a God Man. It is also
related to the mountains and caves that protect, to the land that delivers its
goods and fruits and that gives power to the giants but that can also become
the land that binds and devours.

106
ELHAZ RUNE AND THE PATH OF
RETURN

Rune of spiritual elevation, overcoming the comings and goings of events and
obstacles in the material world.

It represents humanity that like a tree tries to rise to the highest peaks, man
who through a titanic struggle must resume his divine origin and his place
“beyond the stars” or the last sky created in the universe.

But paradoxically, in order to rise to the highest heavens, the Virya must
descend to the underworld and, like a gigantic tree, it must take deep roots
into the darkest and most underground. We must also remember the Greek
myth that locates the Elysian Fields when passing through the inn of Hades
and Persephone in the underworld.

Through the matrix of the material world the eternal spirit must descend to
face the initiatory test. The more it descends, the more it will rise.

Matrix: Spirit:

Initiatory descent:

The Virya, like Odin, crucifies himself to face and defeat death, through gnosis
and runes he recovers his weapons and rises victorious, retracing the path of
the matrix through which he descended.

107
The female priestess, the initiated Hetaira, delivers the key to transmutation,
the elixir to take flight like an eagle and lift the waters by reversing their
current. When the initiate passes through the womb or womb of Kali, the Elhaz
rune becomes a trident:

KALI YANTRA- MATRIX/BELLY OF THE INITIATIVE DESCENT THAT PRECEDES THE

PATH OF RETURN:

108
HAGALL RUNE AND TOTALITY

Inside me I hear a song of nostalgia I remember

being a God, being a Hagall rune The original
unity that was broken into pieces Returns to
being fullness in the source of the graal.

The Hagall rune contains all the runes. Everything that surrounds us in nature
and in the created material universe reminds us of a part or all of this rune,
because there is always something in the world of men that reflects and
reminds us of the world of the gods.

The song of our unforgiving original partner calls us and demands us, it does not
stop repeating the same melody which takes us to the limit between madness and
genius. The echo of his voice remains intact, and not for infinite longing and
eternal search.

Despite listening to her warnings, attracted by the daughters of men, 8 eternal

lineages descended to this theater to play a role in the middle of a
tragicomedy. They tore and detached from their center. They lost the certainty
of being the void and the potential of being everything. At the moment of
descent into matter, the Hagall rune gradually went from being an infinite
sphere to becoming captured and trapped in a finite three-dimensional cube.

The Hagall rune represents the whole, the archetypal puzzle that must be
reassembled to add the lost internal unity, reintegrating into itself the pieces
or pieces of the infinite that are reflected and dispersed throughout the
universe.

Hagall is everything and nothing at the same time, all the archetypes and none
simultaneously, beyond these in a void/fullness of absolute will.

109
Hagall Rune Paradox due to the union of runes with opposite meanings:

Rune Yr Elhaz Rune

+ Hagall
Naudhiz Runa Ehwaz Rune

+ Hagall
Isa Rune Balk Line (death) Bar Line (Life)

+ + Hagall
Tywaz rune reversed Tywaz Rune

+ Hagall
Isa Rune Gebo Rune

+ Hagall

110
The Hagall rune referring to the hexagon-cube refers to and reminds us of the
moment of the descent of the spirit into the conditioned and material world.
Likewise, its center, which is a point of contact between the uncreated and the
created, can serve as a vertex through the which builds a bridge from the finite
to the infinite.

We see Hagall in the structure of quartz crystals, petrified water that

corresponds to ice and snow. In this Hagall symbol are all the runes that are a
reflection of the uncreated in the created and that connect both realities
through their vertices and angles:

Hagall Hexagon in continuous reproduction and expansion, similar to the fall

of a hail shower:

Illustrated below are all the runic signs whose shape is derived from the Hagall
Hexagon, it is highly recommended to use these graphic shapes as the main
focus for a meditation or runic visualization practice:

111
Derivations of the Hexagon-Hagall in the Elder
Futhark

1-FEHU

2-URUZ

3-THURIZAS

4-ANSUZ

5-RAIDHO

112
6-KENAZ

7-GEBO

8-WUNJO

9-HAGALAZ

10-NAUDHIZ

113
11-ISA

12-JERA

13-EIHWAZ

14-PERTHRO

15-ELHAZ

114
16-SOWILO

17-TYWAZ

18-BERKANO

19-EHWAZ

20-MANNAZ

115
21-LAGUZ

22-INGWAZ

23-DAGAZ

24-OTHILA

116
Derivations of the Hexagon-Hagall in the Armanen
Futharkh and the New Futhark.

These are the Armanen Futharkh runes that correspond in their spelling to
other runes of the ancient Futhark:

Armanen F.Old

1-Fa 1-Fehu
2-Ur 2-Uruz
3-Thorn 3-Thurizas
5-Rit 5-Raidho
8-Nod 10-Naudhiz
9-Is 11-Isa
11-Sieg 16-Sowilo
12-Tyr 17-Tywaz
13-Bar 18-Bercano
14-Laf 21-Laguz
15-Man 15-Elhaz

Below are the derivations of the Hexagon-Hagall in the other runes of the
Futharkh Armanen, it must also be remembered that this system, except for
the OS, AR, EHE and GIBOR runes, is identical in its spellings to the New
Futhark.

The 4-ÁSS rune of the New Futhark is identical in spelling to the 4-ANSUZ rune
of the Old Futhark.

4-OS

6-KA/KAUN

117
7-HAGALL

10-AR

16-YR

17-EHE (10-AR IN THE NEW FUTHARK)

18-GIBOR

118
Derivations of the Anglo-Saxon in the Futhorc
Hexagon-Hagall
Let us remember the runes of the Anglo-Saxon Futhorc that correspond in their
spelling to other runes of the ancient Futhark:

F. Anglo-Saxon F.Old
2-Ur 2-Uruz
3-Thorn 3-Thurizas
5-Rad 5-Raidho
7-Gyfu 7-Gebo
8-Wynn 8-Wunjo
10-Nýd 10-Naudhiz
11-Is 11-Isa
13-Eoh 13-Eihwaz
14-Peordh 14-Perthro
15-Eolh 15-Elhaz
16-Sigil 16-Sowilo
17-Tír 17-Tiwaz
18-Beorc 18-Bercano
19-Hey 19-Ehwaz
20-Mann 20-Mannaz
21-Lagu 21-Laguz
22-Eng 22-Ingwaz
23-Doeg 23-Dagaz
26-Aesc 4-Ansuz

31-Calc This rune is the same in spelling as the 16-Yr rune of both
the Futharkh Armanen and the New Futhark.

These are the derivations of the Hexagon-Hagall in the other runes of the
Anglo-Saxon Futhorc……..

4-OS

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6-CEN

9-HOEGL

12-GÉR

22-ING

120
25-AC

27-ÝR

28-IOR

29-EAR

121
30-CWEORTH

32-STAN

33-GÁR

122
 THIRD PART:
RUNE PRACTICES

123
MEDITATION WITH RUNES
A very simple way to begin to internalize the runes is to do a routine of body
postures without saying or intoning any words. Only adopting each posture for
30 or 40 seconds trying to stop thoughts and leave the mind "empty", until
developing the complete series of the ancient futhark or any other alphabet/
runic system. If you are going to perform a ritual of invoking runic forces, it is
advisable to first establish an external “kingdom” and an internal kingdom.
Although the different writers who have published books on runic magic
propose varied methods, the essential issue in most of these refers to
establishing an external kingdom by placing a circle/ring/fence of runes on the
ground around oneself for one's own protection. and isolation.

The runes can be carved into small or medium-sized pieces of wood, stone or
clay, and it is preferable that these have been made by the magician-warrior
himself (if possible, choose not to buy those packs of runes that are sold in
esoteric bookstores). and it would be much better if its straight lines could also
be colored with one's own blood. This is easier for women to do because they
can use their own menstrual blood, while a man usually has to cut the outer
edge of his palm or one of his fingers several times to get enough blood with
him. which can be colored the entire complete set of runes.

To establish the internal kingdom first of all the Virya must stand inside the
circle to carefully observe each rune, and then he can continue in several
ways:

- After looking at a rune on the ground, close your eyes for a few seconds and
mentally visualize the same rune. Continue in the same way until you complete
the visualization of all the runes in the circle.

- After looking at a rune on the ground, close your eyes for a few seconds
visualizing and feeling that YOURSELF IS THE RUNE. Continue in the same
way until completing the circle.

- While looking at each rune on the ground one by one, visualize that
another "imaginary" circle of runes forms in parallel around our waist with
the solar plexus as its center. These imaginary runes can be of any color
(depending on the intention). of the ritual) but it is customary to use the
color red.

It is not absolutely necessary to establish the external and internal kingdoms.

If you are only going to work with the runes to do a short meditation or
visualization, intonation of Galdr (names) as well as a series of body and
manual positions.

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INTONATION OF THE RUNES
Meditation or runic visualization practices can be accompanied by the repeated
intonation of the voice-syllables that give the name to each rune (the Norse
term is Galdr).

At the beginning of the practice, only the Galdr of each rune can be intoned,
but gradually these intonations can be varied by interspersing the five vowels
with the runes that are linguistically equivalent to consonants. This deepens
the perceptible internal effects of the runic forces.

For example, the Gebo rune corresponding to the consonant G could first be
intoned “gebo, gebo, gebo……. “the desired number of times.

After the above and when the person considers necessary, they can begin to
intone a combination like “ga, ge, gi, go, gu” also repeating these five syllables
the desired number of times.

This method is really effective, when the Galdr are intoned in this way you feel
a great energetic difference compared to just reciting the name of the rune as
is, the discharge and accumulation of internal power is greater when the five
vowels are combined with a consonant. specific.

In the esoteric circles of Latin America, some of these Galdr have become
known through the books of the writer Samael Aun Weor, however it is
important to understand that this man DIDN'T INVENT OR SCHEMATIZE THE
GALDR OR “RUNIC MANTRAMS”, he simply took the words and runic root-
syllables already developed by other authors such as Kummer, Gorsleben and
Spiesberger and copied them in his work without giving the slightest credit
regarding their source, something that apparently this writer used to do in a
good part of his books, that is , “borrowing” information from other authors to
make it appear as your own.

Although there is no definitive and unique model for the order of the five
vowels, some of the following combinations are usually used, to have a greater
effect they can be intoned in a very high or very low tone:

1- Or AND Yo TO OR
For example, for the Gebo rune, chant “go, ge, gi, ga, gu”. (From now on
the vowel forms of this rune will always be exemplified)

You can also use the previous vowel series in reverse:

OR TO Yo AND EITHER
Intone “gu, ga, gi, ge, go”.

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2-A AND EITHER Yo OR
Intone “ga, ge, go, gi, gu”.

Reverse way:
UIO AND TO
Intone “gu, gi, go, ge, ga”.

3- Yo AND TO EITHER OR
Intone “gi, ge, ga, go, gu”.

Reverse way:
UOA AND Yo
Intone “gu, go, ga, ge, gi”.

4- TO Yo AND EITHER OR
Intone “ga, gi, ge, go, gu”.

Reverse way:
UOE Yo TO
Intone “gu, go, ge, gi, ga”.

You can intone these vowel series in any order: For example, doing a different
one in each meditation/visualization/invocation session, or also repeating each
one for a month or a week, or combining two or more vowel series singing the
same rune, or using within the same session only one vowel series to intone a
rune and then another series for a different rune, etc. Intuition is the guide.

It goes without saying that, just as the Mantras of the Hindu tradition are
recited, in the pronunciation of Galdr it is advisable to lengthen the sound of
both vowels and consonants, an example could be the following:

gggggggeeeeeebbbbbooooo
gggguuuu, ggggaaaaa, ggggiiiii, ggggeeeee, ggggooooooo

When using all vowel series it is possible to invert the Consonant-vowel order,
as follows: ggggggeeeeeebbbbbooooo
and instead of intoning gggguuuu, ggggaaaaa, ggggiiiiii, ggggeeeee, ggggooooooo
change to Uuuuuggggg, aaaaggggg, iiiiiigggggg, eeeeggggg, oooogggggg

126
It is also possible to intone the Galdr with an extra final consonant, that is, the
root consonant is intoned, then a vowel and finally the next consonant of the
name of the rune, for example in the Gebo rune, we use the root consonant G,
then some vowel and finally the consonant that is found next within the name
of the rune, which in this case would be the letter B. Applying this to the five
vowels we would have:

gggggggeeeeeebbbbbooooo
gggguuubbbb, ggggaaaabbbb, gggggiiiiiibbbbb, gggggeeeebbbb,
ggggoooobbbb

In these galdr it is also useful to lengthen the pronunciation of only the

consonants and, on the contrary, say the vowels in an accented but sharp and
cut way, in a similar way to a musical “stacatto”:

Gggggor bbbb, gggggto bbbbb, gggggYo bbbbbb, gggggggand bbbbbb,

gggggeither bbbbb.

Each person can choose the order, combinations and number of repetitions to
intone these Galdr forms. Intuition is the guide. Likewise, with the constant
repetition of the practice, the person will feel a greater energy accumulation.

In any case, below is a Galdr model to apply with the complete ancient futhark.
As said at the beginning of this chapter, the Galdr vowel series only apply to
runes that are linguistically equivalent to consonants; for runes that are
equivalent to vowels, it is only customary to intone their basic names.

In the Old Futhark rune series the runes equivalent to vowels would be URUZ
(U), ANSUZ (A), ISA (I), EHWAZ (E) and OTHILA (O). The variations with vowel
series explained in the previous pages would not be applied to the Galdr of
these runes.

In the Futharkh Armanen rune series the runes equivalent to vowels are UR (U),
OS (O), IS (I), AR (A) and EHE (E). In the New Scandinavian Futhark the vowels
would correspond to UR (U), ÁSS (O), ÁR (A, E) and ÍSS (I). In the Anglo-Saxon
Futhorc the vowels are ÚR (U), ÓS(A), IS (I), EOH (EI), EH (E), ÉTHEL (O), ÁC (A),
AESC (A), ÝR (U ), IOR (IO), and ÉAR (AO, EA). Finally in the Uthark the vowels are
UR (U), AS (A), IS (I), EIHWAZ (EI), EH (E) and ODAL (O). The galdr of all these
runes would not be applied to the variations with vowel series explained in the
previous pages.

127
In the model proposed below for the runes that correspond to consonants, the
basic name of the rune can be intoned three times first, then some variation of
the vowel series is intoned three times and finally the name of the rune is
repeated for the last time. rune. For runes that correspond to vowels, the basic
name can be intoned any number of times. Eight repetitions are proposed
because this is a number that symbolizes infinity. It is always recommended to
chant a Galdr or a magical formula at least three times, because if it is done
only once it may not penetrate the deep subconscious.1.

From three, the number of repetitions is the decision of each person, a limit for
this can be nine times since if we apply them to any complete runic series it is
possible that the practice becomes tedious and too extensive when doing
more than 9 repetitions for each rune, even more so if this is approached as an
introduction or "warm-up" for a later ritual. Furthermore, it is well known that
the number nine also has a magical meaning as it is equivalent to three times
the trinity and the number of nights that Wotan-Odin hung from the Iggdrasil
tree.

It is important to breathe well when intoning the galdr: first you take a deep
breath through your nose, trying to get the air to rise and rest from the
abdominal region and not just from the lungs. One way to feel and understand
this is to mime of a sneeze, unconsciously when doing this in the moment
before the abrupt expulsion of air, breathing is supported from the abdominal
region and from the diaphragm. After inhaling we hold the air for about 3 or 4
seconds and then exhale the air pronouncing the Galdr.

The Galdr of each of the runes are chanted while looking at the ground or
mentally visualizing them, also doing the respective Stadha (body posture) or
Runen Griff (hand position). In this intonation model, several forms of the
vowel series used for the Galdr are combined. The model is based on the Elder
Futhark but can equally be applied to the Armanen Futharkh or any other rune
series. It goes without saying that this model is only a frame of reference since
each person can vary it according to their own intuition and experience:

(F) – Fehu, Fehu, Fehu……..Fu Fi Fo Fa Fe; Fu Fi Fo Fa Fe; Fu Fi Fo Fa Fe;……..Fehu

1Occultists and writers like GI Gurdjeff have pointed this out.

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(U) – Uruz., Uruz, Uruz, Uruz, Uruz, Uruz, Uruz, Uruz

Continue in a similar way with the other runes…………

(Th) - Thurizas (x3)… Thor Ther Thir Thar Thur (x3)…..Thurizas

(A) - Ansuz (x8)

(R) - Raidho (x3)….Ru Ro Ra Re Ri (x3)……Raidho

(K) - Kenaz (x3)... Ken Kan Kon Kin Kun (x3)...Kenaz

(G) - Gebo (3)…..Gu Ga Gi Ge Go (x3)……Gebo

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(W) - Wunjo (x3)……. Win Wen Wan Won Wun (x3)…..Wunjo

(H) - Hagallaz (x3)…..Hu Hi Ho Ha He (x3)…….Hagallaz

(N) - Naudhiz (x3)……No Ne Ni Na Nu (x3)……Naudhiz

(I) - Isa (x8)

(J) - Jera (x3)……Jur Jor Jar Jer Jir (x3)……Jera

(Ei) - Eihwaz (x8)

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(P) - Perthro (x3)…… Pert Part Port Pirt Purt (x3)……Perthro

(Z) - Elhaz (x3)……. Zu Za Zi Ze Zo (x3)……..Elhaz

(S) - Sowilo (x3)…… Sil Sel Sal Sol Sul (x3)…… Sowilo

(T) - Tywaz (x3)……Tu Ti To Ta Te (x3)……..Tywaz

(B) - Berkano (x3)…… Bork Berk Birk Bark Burk (x3)…..Berkano

(E) - Ehwaz (x8)

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(M) - Mannaz (x3)……Mu Mo Ma Me Mi (x3)……Mannaz

(L) - Laguz (x3)…… Leg Lag Log Lig Lug (x3)…….Laguz

(NG) - Ingwaz (x3)…….Ung Ang Ing Eng Ong (x3)…….. Ingwaz

(D) - Dagaz (x3)……. Di De Da Do Du (x3)……..Dagaz

(O) - Othalaz (x8)

For the pronunciation we seek to approximate the Old Norse language, one
way to achieve this is to apply the pronunciation of modern English to the
consonants b, d, f, k, l, m, n, t and the vowel U. For the other consonants and
vowels, a pronunciation close to Modern German can be applied. In any case, it
is not necessary to get entangled with exaggerated phonetic specifications and
intuition in this case can also serve as a guide.

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STHÖDUR RUNE

The different body positions (Sthada) for the Ancient Futhark are illustrated
below, showing in some runes two or three different possibilities. Using one
Sthada for each rune, the achievement of the entire futhark can be
concatenated in a similar way to the choreography of a dance or a kata of a
martial art.

It is important to keep in mind that when adopting each position you must
maintain a straight and upright position that represents the spiritual vertical
axis related to the ice rune ISA, thus corresponding to the legs and arms to
represent the different auxiliary and adjacent lines.

Traditionally in positions that do not involve the use of the feet to illustrate the
form of the rune, the feet may be placed straight and perpendicular to the legs
in a manner similar to a natural martial placement. However, another position
used for the feet suggests turning them a little outward to place them in a V
shape, thus illustrating a right angle between the heels. This also refers to the
vertex that connects the world of the gods with the earthly world. . In most
illustrations the feet are seen in said second position although in reality both
placements are valid for channeling runic forces. It is also advisable to perform
these body positions facing north, symbolically heading towards the
Hyperborean island of Thule, the primal homeland of the spirit.

In the following Runasthödur you will find the sum of different proposals
developed by various writers1such as SA Kummer, Edred Thorsson and Thomas
Karlsson (the author of this book has also added positions of his invention):

1Specificallyin the books: KUMMER, SA,”Heilige Runenmacht”.Hamburg: Uranus, 1932.THORSSON, EDRED,

“Futhark. A handbook of Rune Magic”. York Beach, 1984. KARLSSON, THOMAS, “Uthark, Nightside of the
runes”. Sunbyberg-Sweden: Ouroboros Produktion, 2002.

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1-FEHU

Standing straight, lean both arms up and forward,

the left arm a little above the right. The palms of the hands can face down or also forward if the
hands are placed perpendicular to the arms.

2-URUZ

Keeping your legs straight, tilt your torso so

horizontal and parallel to the ground. Arms and hands in a straight line point towards the floor.

3-THURIZAS

Sthada 1: Standing upright, the left arm, bending the elbow inward, forms the shape of a spine,
the hand should rest on the hip. The right hand is kept straight, resting on the trunk.

Stadha 2: Standing, the arms are completely tilted forward, with the palm facing upwards, the
left arm is placed under the right, in this way both palms are opposite each other.

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4-ANSUZ

Stadha 1: Standing, the left arm and leg are fully extended to the side in parallel. The back of
the hand can face forward or up. The right arm is kept straight and lying on the trunk. Both
limbs are placed at approximately 45 degrees to the body.

Sthada 2: Standing, bend both arms forward and slightly downward, the left arm a little lower
than the right. The palms of both hands face down.

Stadha 3: Standing, bend your right arm and right foot forward and slightly downward without
the latter touching the ground. Arm and foot are placed parallel, the palm of the hand can face
down or forward if the hand is placed perpendicular to the arm. The left arm is kept straight
and lying on the trunk

5-RAIDHO

Sthada 1: The left arm is bent inward at the elbow and the hand rests on the hip, the left foot is
tilted laterally outward without touching the floor and forming an approximate angle of 45
degrees with respect to the ground.

Sthada 2: The right arm is bent at the elbow upwards and forwards, the palm approaches the head
on the right side of the head. The right foot leans down and forward without touching the floor.

Sthada 3: Both arms are leaned forward, opposing their palms and slightly bending their
elbows, the left arm is placed under the right. The right foot rests on the ground and is placed
one step away from the body.

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6-KENAZ

Both arms lean forward with their

respective hands continuing the straight line. The right arm is placed above and the left below,
each forming an angle of 45 degrees with respect to the shoulders.

7-GEBO

Form an X with the feet and arms extended towards the

sides at approximately 45 degrees. The palms of your hands should face up.

8-WUNJO

Sthada 1: The right arm is bent at the elbow upwards, the fingers should touch the head at the
crown of the head. The left arm is kept straight, resting on the trunk.

Sthada 2: This position is similar to the second stadha of Thurizas only that in Wunjo both
elbows are bent a little more outward. The palms should also oppose each other.

Sthada 3: Bend the right arm at the elbow upward and forward, the hand should approach the
head on the right side of the head. The left hand is kept straight, resting on the trunk.

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9-HAGALAZ

Stand erect, right arm attached to the region

abdominal tilts downward at approximately 45 degrees. The left arm is kept close to the chest
and is also tilted upwards at approximately 45 degrees. Both arms remain parallel. The palms
of the hands rest against the body

10-NAUDHIZ

Sthada 1: Both arms form a downward diagonal rectal line, the right arm leans to the side and
up, the left arm to the side and down. Both limbs are placed at approximately 45 degrees to the
shoulders.

Sthada 2: A downward diagonal straight line is formed between the right arm that is inclined
laterally upward with the left foot that is inclined laterally downward.

11-ISA

Sthada 1: Standing upright, both arms are kept straight and supported on the trunk. The palms
of the hand face inwards.

Sthada 2: Both arms go up in a straight line. The hands are above the head and both palms face
inwards.

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12-JERA

Sthada 1: The left arm is bent laterally upward at the elbow and its palm faces downward with
the fingers approaching the head without touching it. The right arm is bent laterally downward,
its palm faces upward and its fingers approach the hip.

Sthada 2: The right arm is bent at the elbow upwards and forwards, the hand should approach
the head on the right side of the head. The left arm is bent at the elbow backwards and
downwards, its hand touches the hip.

13-EIHWAZ

Sthada 1: Both arms are tilted down and forward with their palms facing downwards. The left
leg is bent at the knee and raised back.

Sthada 2: The right arm is tilted down and forward with its palm facing downwards. The left
foot takes a short step back and rests on the ground. The left arm is bent at the elbow a little
backwards and downwards, his hand rests on the hip.

14-PERTHRO

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Sthada 1: Sitting with the back straight, the legs are bent at the knees and the soles of the feet
remain resting on the floor. His arms are tilted forward resting his elbows on his knees, his
forearms are tilted upwards and his palms can face inwards.

Sthada 2: Standing upright, the right leg leans forward, keeping the thigh slightly raised, from
the knee the leg bends and leans downward. The right arm is tilted slightly up and forward,
remaining straight, the arm is bent at the elbow, tilting the forearm up and forward.

15-ELHAZ

Standing straight, both arms bowed

laterally upwards, each forming a minimum angle of 45 degrees with respect to the shoulders,
the palms should face the sky.

16-SOWILO

Sthada 1: In a squat, the buttocks rest on the heels, the back remains straight and the arms
lean forward and rest on the thighs, the hands rest on the top of the knees.

Sthada 2: Standing upright, both arms are placed straight down and resting on the trunk. The
right thigh leans up a little, from the knee the front part of the leg leans down and forms
another line parallel to the body.

Sthada 3: The left foot is placed back on the ground a short step away, the right arm is tilted
completely straight upwards forming a minimum angle of 45 degrees with respect to the
shoulder. The left arm is kept straight, resting on the trunk.

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17-TYR

Standing tall, arms bent

laterally downwards without approaching the trunk and each forming a minimum angle of 45
degrees with respect to the shoulders, the palms facing the ground.

18-BERKANO

Sthada 1: The right arm is kept straight, resting on the trunk. The left arm is bent laterally
inward at the elbow, its hand rests on the hip. The left leg is bent at the knee laterally inward,
the left foot is placed straight and rests on the lower anterior part of the right leg.

Sthada 2: The right arm is bent at the elbow upwards and forwards, the hand should approach
the head on the right side of the head. The right thigh is tilted forward and down and the right
leg is bent inward at the knee. The right foot without touching the ground remains straight and
perpendicular to the left foot. The left arm is kept straight, resting on the trunk.

19-EHWAZ

Sthada 1: Both arms form a straight upward diagonal line, the left arm is tilted laterally
upwards and the right arm is tilted laterally downwards. Both limbs are placed at approximately
45 degrees to the shoulders.

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