Equally perplexing is the presence of systems similar to Nordic and Germanic Runes among the Magyars (Hungarians) and the ancient Turks of Central Asia, who may have adopted them from the Scythians after essentially torching their civilization to ashes. Evidently there was an ancient proto-Indo-European writing system which gave rise to the Runes, and until the destruction of most of its successor-cultures by Turkic and Turanid nomads from 3,000 to 2,000 years ago, was perpetually giving rise to multifarious new shoots on the branches of the Aryan-descended peoples of Eurasia along the great tree of Asa-consciousness. Indeed, it is likely that there were many "runic" systems which likely had both orthographic and crypto-magickal uses. This was as observable in ancient Scandinavia as in neolithic Bulgaria, Jiroft-culture Iran and the pre-Vedic Indus Valley, where we can see unique local derivatives of these secret staves in each Indo-European homeland (can you see the rune for homeland?)
Metaphysically, all Indo-European peoples understood the universe as worlds on the branches of a great infinite tree, whose root-tips and origin point are unknown by even the wisest of beings; in the Nordic lands it was known as Yggdrasil, or Odin's Steed. To the south and east, in Aryanam-Vaejah (Greater Iran) this tree was known among the Avestan people as Harvisptokhm - the All-Seed-Tree or the High One's Seed-Tree, upon which the wise god Vayu-Vata gave his own breath and blood to bring consciousness to man. Holy secrets, or Ravanan, were said by many Indo-European cultures to be the very branches of life which emanated as strange whispers from this invisible tree, and it is from the same root-word that the Celtic rhin, the German raunend, and ultimately the Norse word "Rune" comes - for Runes are not merely symbols, but the secrets or hidden powers those symbols represent. And so they were for the Germanic peoples using and developing them as a magickal language.
In the mystical esoteric sense of the Runic Journey, it was Wotan or Odin himself who discovered the Runes, at great personal pain and cost - the price was himself, as a blood sacrifice to himself, upon the World Tree Yggdrasil, in whose darkest depths were then revealed to him the 18 sacred Runes - the very keys to the creative energies of all existence - energies which even exceed and surpass the Gods in mystery and grandeur. All Rune Magick must take into account this most traditional account of Rune origins. All rune students would do well to meditate on its meanings. The Runes are not simply letters or symbols, but powerful energies, keys to the very soul of the universe, the Realms of Creation. Thus they must be understood as wisdom that even Odin and the Aesir could only obtain with great difficulty, and mankind should be careful in learning their correct uses. The mystical words of Odin apply even when using the more recently published Rune system of the Armanen Futharkh; indeed, its 18 Runes specifically correspond with the 18 songs or spells of Odin in the Hávamál.
Wounded I hung on that wind-cold Tree
nine whole days and nights,
stabbed with a spear, sacrificed to Odin,
myself to myself given,
high on that Tree, which the wisest know not
from where its roots spring.
None refreshed me ever with food or drink,
I peered right down in the deep;
screaming aloud I picked up the Runes
then I fell back down from there.
Nine mighty songs I learned from the great
son of Bale-thorn, Bestla's sire;
I drank a measure of the wondrous Mead,
with the Soulstirrer's drops I was showered.
Ere long I bore fruit, and thrived full well,
I grew and waxed in wisdom;
word building on word, I found me words,
deed building on deed, I wrought deeds.
Hidden Runes shalt thou seek and interpreted signs,
many symbols of might and power,
by the great Singer [Bale-thorn] painted, by the high Powers fashioned,
carved by the Utterer of gods.
For gods carved Odin, for elves carved Daïn,
Dvalin the Dallier for dwarfs,
All-wise for Jötuns, and I, of myself,
carved some for the sons of men.
Dost thou know how to write, dost know how to read?
dost thou know how to paint, dost know how to prove?
dost thou know how to ask, dost know how to offer?
dost thou know how to send, dost know how to spend?
Better ask for too little than offer too much,
like the gift should be the boon;
better not to send than to overspend.
Thus Odin graved ere the world began;
Then he rose from the deep, and came again.
Those songs I know, which neither sons of men
nor queen in a king's court knows;
the first is Help which will bring thee help
in all woes and in sorrow and strife.
A second I know, which the son of men
must sing, who would heal the sick.
[It chases disease and all pain,
It cures hurts and all wounds.]
A third I know: if sore need should come
of a spell to stay my foes;
when I sing that song, which shall blunt their swords,
nor their weapons nor staves can wound.
A fourth I know: if men make fast
in chains the joints of my limbs,
when I sing that song which shall set me free,
spring the fetters from hands and feet.
A fifth I know: when I see, by foes shot,
speeding a shaft through the host,
flies it never so strongly I still can stay it,
if I get but a glimpse of its flight.
A sixth I know: when some thane would harm me
in runes on a moist tree's root,
on his head alone shall light the ills
of the curse that he called upon mine.
A seventh I know: if I see a hall
high o'er the bench-mates blazing,
flame it ne'er so fiercely I still can save it, --
I know how to sing that song.
An eighth I know: which all can sing
for their weal if they learn it well;
where hate shall wax 'mid the warrior sons,
I can calm it soon with that song.
A ninth I know: when need befalls me
to save my vessel afloat,
I hush the wind on the stormy wave,
and soothe all the sea to rest.
A tenth I know: when at night the witches
ride and sport in the air,
such spells I weave that they wander home
out of skins and wits bewildered.
An eleventh I know: if haply I lead
my old comrades out to war,
I sing 'neath the shields, and they fare forth mightily
safe into battle,
safe out of battle,
and safe return from the strife.
A twelfth I know: if I see in a tree
a corpse from a halter hanging,
such spells I write, and paint in runes,
that the being descends and speaks.
A thirteenth I know: if the new-born son
of a warrior I sprinkle with water,
that youth will not fail when he fares to war,
never slain shall he bow before sword.
A fourteenth I know: if I needs must number
the Powers to the people of men,
I know all the nature of gods and of elves
which none can know untaught.
A fifteenth I know, which Folk-stirrer sang,
the dwarf, at the gates of Dawn;
he sang strength to the gods, and skill to the elves,
and wisdom to Odin who utters.
A sixteenth I know: when all sweetness and love
I would win from some artful wench,
her heart I turn, and the whole mind change
of that fair-armed lady I love.
A seventeenth I know: [if the fair maid's love
I have, and hold her to me:
that song I sing] so that e'en the shy maiden
is slow to shun my love.
These songs, Stray-Singer, which man's son knows not,
long shalt thou lack in life,
though thy weal if thou win'st them, thy boon if thou obey'st them
thy good if haply thou gain'st them.
An eighteenth I know: which I ne'er shall tell
to maiden or wife of man
save alone to my sister, or haply to her
who folds me fast in her arms;
most safe are secrets known to but one-
Thus comes the end of the songs.
Now the sayings of the High One are uttered in the hall
for the weal of men, for the woe of Jötuns,
Hail, thou who hast spoken! Hail, thou that knowest!
Hail, ye that have hearkened! Use, thou who hast learned!